WILL

BARSLEY
GUEST
EDITOR

• Visits the carvers

of Jaipur, India
• Profiles artist
Sarah Davis
• Carves replicas of the
Westminster Hall angels

PROJECTS TO CARVE Carol singers • Valentine’s frame • Art Nouveau

panel • Mandarin duck netsuke • Black Forest-style double frame
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 Guest editor’s letter
PHOTOGRAPH BY JAKE WEBB

Will Barsley

WELCOME It is a privilege to have been asked to be guest editor of

Woodcarving, a magazine I am very fond of and started writing
for back in 2016. The timing is impeccable as, not only did I study
Seeing the marks of the original medieval craftsmen who
carved the angels, and those who have repaired them over
the years, was very special. Fascinatingly, the Hall still holds
with this issue’s interviewee, the talented Sarah Davis, but, for records of the carvers who made the angels, including their
the past four years, I’ve been working towards a significant names and how much they got paid. To think this beautiful
moment in my carving career that happens to be culminating craft that we all love has been practised for so many years
as I write this. In a true passion project that I’m delighted to see always gives me huge comfort and inspiration.
come to life, I will be launching an exciting new product with the During my time working at Westminster Hall, I became
Houses of Parliament Shop – hand-carved angels based on those a little obsessed with the history of the angels and would
found in the roof of Westminster Hall. The Hall is an incredible arrive for work early to sketch and study them. In order to
building – the oldest in the Palace of Westminster – and one that better understand how they were originally made, I decided to
has seen worldwide attention recently with the lying-in-state of carve one for myself. Through my partnership with the Houses
Queen Elizabeth II. of Parliament Shop, I’m delighted to have the opportunity to
The seeds for this project were first planted back in 2018 when share the special history of Westminster Hall’s angels more
I was part of a team of craftsmen working to repair the roof of widely and enable people to have their own angel to enjoy at
Westminster Hall, and you can read more about this and my home. There are three sizes available with the largest being
replicas, on page 22. 72cm, and all carved in English oak, as the originals were.
The angels have looked down on Westminster Hall for over I feel very lucky to be able to work on something I’m so
600 years. You can imagine the sights they have seen – the trial passionate about, and hope that you are also finding passion
of Guy Fawkes, the impeachment of Charles I, countless in whatever it is you are working on at the moment.
coronation banquets, and the lying-in-state of Winston Churchill,
the Queen Mother and now, sadly, Queen Elizabeth II. Will Barsley

1
 Contents
Woodcarving issue 191

16 28

Guest editor Projects

1 Guest editor’s letter 16 Art Nouveau tracery panel 28 Larping chest

Our guest editor, Will Barsley, Steve Bisco carves an Kevin Alviti has a larp
welcomes you to this issue Art Nouveau-style panel with this unusual project
of Woodcarving with unusual provenances
34 Valentine’s Day frame
4 Carving countries – India 24 Victorian carol singer Dave Western makes
Will Barsley arrives in Jaipur Christmas is on the horizon, a romantic gesture
for part 1 of his time in India and Peter Benson adds a bit
of Dickensian-style nostalgia 46 Mandarin duck
10 Coming full circle to proceedings In an extract from his popular
Will Barsley catches up with book, Carving Japanese Netsuke
multimedia artist Sarah Davis for Beginners, Bob Jubb carves
this feathered friend in miniature
22 The Westminster angels
As part of a team of experts, 52 Flower and leaf panel
Will Barsley helped restore part Cynthia Rogers carves
of Westminster Hall – and a decorative f loral panel
was inspired to recreate the in jelutong
medieval carvings
74 Rosewood double frame
Mark Ivan Fortune takes us
through the steps to carve this
frame in the Black Forest style

2 24
10 52

Techniques Community Features

40 Oak leaf frame 57 Subscribers 44 Not just The Tiny Turner

John Samworth continues his series Find out about our latest We find out what happened
on strapwork with basic leaf shapes subscription offers when Emma Cook turned
her hand to carving
60 Adze good adze it gets 58 BDWCA news & events
In the second part of his series, The latest news from the 50 Never stumped
Nic Westermann adjusts the Association for Bird Carving We asked Jonathan Sherwood about
handles on three adzes the challenges of chainsaw sculpting
66 From the community
A collection of letters and news 80 Patwon Ki Haveli
from the woodcarving community We visit an architectural
gem in India’s Golden City
79 Next issue
Can’t wait to see what’s in store
for the next issue of Woodcarving?
We reveal a sneak peek at what
to expect

46

3
 Carving
Countries

4
William Barsley arrives in Jaipur
for part 1 of his time in India

I
n this series, William Barsley looks back on the journey that inspired
his career change from an office worker to a professional woodcarver.
In this article, William travels to India, visiting the block wood carvers of Jaipur.

5
 The journey
Though sad to be leaving Southeast Asia, it was time for
a change, and I was excited to be heading to India, a country
I had visited twice before. My first trip was in 2008 when
I was teaching English in the Himalayan foothills near
Darjeeling, and my second was in 2012 as part of a research
project documenting the social impacts of tiger reserves on
local indigenous communities in Tamil Nadu, Southern India.
On both occasions, I had been blown away by the woodcarving
and decorative crafts I had seen on display throughout the
country. I had hardly scratched the surface of India on these
two trips and was excited to explore the country through
the lens of woodcarving.
The first and most obvious thing to say is that India is big.
With over a billion people and a land area of around 1.2 million
sq. miles, it has a rich variety of cultures, traditions, and
1
arts. It would take me years to do justice to fully exploring
woodcarving in India so I strongly caveat the next two
articles by saying they simply provide snapshots of the craft.

Block wood carvers of Jaipur

While on my travels, I had become interested in a slightly
different form of carving, specifically the blocks used in
traditional hand printing on to fabric. Jaipur, the capital of
Rajasthan, was said to be a hot spot for block wood printing
and, as we had f lown into Delhi, just north of Jaipur, I thought
this would make for a good first venture into carving in India.
After a bumpy overnight sleeper bus, we arrived at the bustling
city of Jaipur, which is often named the ‘pink city’ because of
the colour of its buildings, such as Hawa Mahal. It is famous for
the Amer Fort, which is an incredible building with stunning
views surrounding it. I was lucky to have found a contact in our
2
hotel who knew a guide who was an expert in block wood
printing and could show me the perfect places off the tourist
path to meet the woodcarvers and see the fabric workshops.
After a fun and dusty 14km motorbike ride south to a town
called Sanganer, we stopped under the Metro, with traffic and
camels everywhere. At the side of the road was what looked like
a row of single garages, each packed with woodcarvers, sat
on the f loor and spilling out on to the pavement. It certainly
looked like we were in the right place.

Shisachin hand block printing

The first workshop I visited was owned by Mr Virontra, whose
son showed me around. A group of six carvers were busy working
away, sitting on small wooden seats and using low tables to
carve on. The owner’s son explained that the textile companies
give the carvers the designs to copy, which are exactly to their
3
requirements. These designs were transferred to the wood using
mustard oil, which turned the normal paper into tracing paper
– a very clever trick.
Copying over the image by tracing it with a small chisel and
drawing it on the wood looked like quite the art. They used to
use teak wood but now use sheesham as it is more readily
available and they can source it in larger sizes. They carve into
the end grain, mainly because it is easier to slice the pieces of
wood that way, but also because it takes the detail better for this
type of carving and holds the ink well.
The carvers used tiny chisels like those I saw for metalwork
in Cambodia, each about five inches long. The wooden hammers
were simple, long blocks made from tamarind wood. Interestingly,
they carve the inside of the design first and then cut to the outline,
which must be to stop it from breaking out, as the pressure would
be released.
A small block may take around two hours to complete, whereas
a more detailed block may take one or two days. They don’t carve
4
anything that takes much longer than this. The workers were said 1 A suitcase of carved blocks being sold on the streets of Jaipur to tourists
to earn between 10,000-15,000 rupees per month (around £108- 2 Carvers in their workshop. Notice how many are in such a small space
£163 at current exchange rates). The carvers looked very poor and 3 Colourful camel dressed for a special festival 4 Designer tracing the printed
the stark contrast with their incredible skill was hard to witness. pattern on to tracing paper to transfer to the wood

6
 6

Shoaib block makers

The next carving workshop we visited was owned
by Mr Mukhtar Kham, who sold carvings to a
5 famous fabric company called Anokhi, which had
a gallery at the Amer fort. His workshop has been
running for 25 years and he has seven carvers.
These carvers originated from Uttar Pradesh and
the carvings in this shop seemed significantly more
detailed than the first.
The speed of the carvers was incredible to witness.
They spoke about their enjoyment in the variety
of work, as the designs changed every day or so a
new project was started. Most of the designs were
Muslim patterns, mainly f loral and suited to fabric.
One carver was testing the blocks by dabbing a
circular pad with ink, putting it on the block and
then rubbing paper on it with a small metal dish.
The general feeling among the carvers was that
the art is slowly dying out and less fabric is printed
7 by hand, resulting in fewer carvers taking up this
profession. They said it takes between seven and 10
years of practice until a carver can effectively make
the blocks used for block wood printing.

8 10

9 11
5 Carving from the inside out on this piece to ensure the wood doesn’t break out 6 Block wood carver’s chisels. Notice how small they are. A long handle would
just get in the way during this type of carving 7 Testing the carving on a piece of paper 8 Incredible detail in this block – one of my favourites 9 Stunning detail
on this carving. Notice this design on paper is glued to the block to guide the carver 10 A carver coming towards the end of this design. Notice his mallet and
how it has been worn away 11 Incredible repeated pattern on this block

7
 12

13 14

12 A printer applying
the third layer of colour
to this fabric 13 The
start of a long stretch of
fabric to print. Notice
how the fabric is pinned
out at the edges 14
Attempting to print a
camel 15 The carved
camel block I printed
with, showing the
outline 16 My finished
15 16 camel print

Fabric printing
Eager to see the whole process of block wood printing, I visited of substances including sugarcane, gum, and yellow clay.
a nearby printing house. The owner gave me a little tour and I had a go at printing a camel while I was there – a simple
explained the business, which had been running for many two-block print with a blue outline and green body. It was
generations. He mentioned that block wood carving goes back fascinating to try out the blocks, having just seen them being
hundreds of years. The workshop seemed to be quite a hub, like carved in the workshops at Sanganer. The blocks have a handle
a training centre. Students would come to learn for a few months on the back so you can get a good grip while printing. It is
and there was a small display area where tourists could see the certainly an art that requires a lot of experience to know the
printing in progress. The workshop was a hive of activity and correct pressure to apply, and one that requires a very steady
it was great to see the process of using the blocks to print the hand, particularly when layering up the different colours.
designs – slowly and methodically, working from square to Overall, it was a wonderful few days exploring block wood
square, making a seemingly unbroken pattern on the fabric. printing in Jaipur and really nice to see a method of carving
The workers certainly needed to have to a very steady hand being used as a tool in another art form. Let’s hope this
when printing. tradition continues to be practised and that the work of
I was told that the printers use a minimum of two blocks in carvers and printers alike is appreciated for its incredible skill.
their patterns and a maximum of seven, after which the design
would get too fiddly and the colours too overlapped to make a Next time, William journeys into the foothills of the Himalayas,
good print. Along the wall was a library of old blocks, which can visiting Darjeeling in the east and Himachal Pradesh in the west,
be re-used repeatedly, so many of them were incredibly old. The where he visits a Tibetan institute of arts that is preserving the
table had padding on, which acted as a cushion to give an even ancient skills of Tibetan craftsmen. ⬤
print. To create the different coloured inks, they used a variety

8
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 Coming
full circle
Guest editor William Barsley catches up
with multimedia artist Sarah Davis

It is my pleasure to introduce the talented Sarah Davis,

my former classmate at the City & Guilds of London Art
School. Sarah is a multimedia artist using hands-on
sculptural techniques to explore the cyclical nature of
recovery and renewal. She uses traditional approaches
with a deep historical resonance, such as woodcarving and
bronze casting. These laboured works are often combined
with functional elements, leading to complex and deeply
layered art objects.
In 2012, Sarah graduated from Chelsea College of Art
with a BA in Fine Art. She returned to education in 2015
to study woodcarving and gilding at the City & Guilds
of London Art School, where she now teaches on the
Woodcarving BA.

Tell us how you came to be a carver?

I started carving about 12 years ago while I was studying
for my BA in Fine Art. I have always been inspired by
history and would often visit museums for inspiration.
It was on one trip to the V&A that I saw a beautiful
miniature Netherlandish boxwood carving. I could not
fathom how on earth they had achieved so much detail in
such a tiny space. At a similar time, the British museum
had an exhibition of reliquaries, with many of the sacred
containers carved in wood. These stunning objects from
history set me on the path to carve and to understand
carving and its role as an artistic medium both, in the
past and today. I was self-taught to begin with, taking a
book out of the college library (Sculpture in Wood, by Jack C
Rich). From there I turned to the woodwork shop and used
the stock of blunt tools held by the college. I had a very
supportive technician who, though not a carver, was very
experienced with fine joinery. Over time I started buying
my own tools and discovered my way with carving. In 2015,
I decided it was time to get some hands-on training and
enrolled at the City & Guilds of London Art School, where
I studied for a Diploma in Ornamental Woodcarving &
Gilding. I graduated in 2019 and now teach at the Art
School, which is such a rewarding experience.

What are your favourite pieces of your own carving?

What do they mean to you?
There are a couple of my pieces which have a very deep
meaning for me. The first is the Ouroboros mirror which I
carved and gilded for my final show at The City & Guilds of
London Art School. The Ouroboros is an ancient symbol of
a snake devouring its tail. First seen in ancient Egypt, the
Ouroboros is often interpreted as a symbol of renewal and
the endless cycle of life, death and rebirth.

10
11
 1

2
4
While studying I became ill with Hodgkin’s lymphoma. I took a year out to
undergo treatment, which culminated in a stem cell transplant in February 2018.
The treatment was a success, but it had a very profound effect upon my body.
The process of healing has been long and is still ongoing. When I came back to
the Art School, I was nervous. I hadn’t carved in about a year and a half by that
point and questioned whether I could still do it. My fears started to melt away,
though, when I began carving the Ouroboros. I had chosen limewood and felt
comfort as the satisfying coils of wood started peeling away. This carving was
an act of reclamation – I took comfort in what my body could achieve after it
had endured so much. I had come full circle, just like the Ouroboros.
The next is my recent octopus carving titled Venus. The natural world is a
huge source of inspiration for me, and the octopus is a very seductive subject.
Their bodies are so beautiful, and they move with such grace. There is a tension
between their vulnerability and strength of intelligence which really resonates
with me. I carved this work in a looser style to previous works, focusing on
5
texture and movement. It was a very rewarding process and I look forward
to pushing my style and taking on more ambitious subjects.

Have you been nominated for or won any awards

or competitions?
While studying I was awarded with a few of the Art School’s prizes,
including The Surveyors’ Club Drawing Prize, the De Laszlo Prize for Gilding
and Decorative Surfaces, and the Brian Till Art History prize.
After graduating, I took part in the Grinling Gibbons 300 Award with the
work I submitted taking second prize. In May 2021, I won first prize in the
modeller’s category at the Goldsmiths’ Craft & Design awards. In 2022, I was
honoured to receive the Award for Art & Design from the Worshipful Company
of Educators, which included a bursary to support professional development.
Most recently I have been selected as this year’s new medallist by the British
Art Medal Society. This is a year-long programme supporting the development
of skills in the art of medal making.
6
Describe your design process. 1 Rococo Fragment, 2019. 50 l X 20 h x 20cm 2 Nest, 2022.
What are your considerations when you set out to carve a piece? American walnut. L 30 x w 20 x h 5cm 3 Ouroboros, 2019.
When planning a new carved work, I like to think about the labour I am about Carved & gilded limewood with gilded concave mirror.
to invest. I love the process of carving and enjoy the leap I am about to take 65cm diameter 4 & 5 Venus, 2022. Carved limewood.
into the mystery of the material. My work is very autobiographical, and I enjoy 25 l x 21 w x 12.5cm h 6 Natrix Mirror. Carved and gilded
layering my concepts with symbols and allegory. limewood. 30cm diameter

12
 This process typically starts with research, both through reading
and sketching. Once I am set on a subject, I’ll work this up into a
scaled drawing. Depending on the complexity, I may also make
a clay model. I love to see the evolution between drawing, model
and carving. I see this as an evolutionary process and enjoy
witnessing the idea grow and come to fruition before my eyes.

Name some of the influences and inspirations

behind your carving style
As mentioned above, history is a huge source of inspiration.
My autobiographical approach has led to a rich body of research
into ancient medical iconography, which is why the snake
features so often in my work. The snake is a creature that has
been both worshipped and persecuted throughout history.
Its dualistic nature and ability to shed its skin lends itself to
medical iconography and is still seen wrapped around UK
medic alerts today.
Recently my work has become more naturalistic and the
work of Grinling Gibbons has been a great source of inspiration.
7 I am also a great lover of Donatello, especially his Penitent
Magdalene carved in poplar and held in Florence. I think
wood, rather than any other medium, really has that ability to
convey natural forms, and to tell the story of pain and survival.
The shedding of snakeskin, the hatching of eggs and the short
life of the octopus are all cycles that exist within nature. These
various narrative tools are woven into my work as a means to
think about how we can navigate our own relationship with
pain, healing and mortality.

What are your favourite types of wood and why?

My favourite woods to carve are limewood and walnut.
I love the naturalism of lime and the simplicity of the grain.
I think lime really allows the subject to take precedence.
Walnut has such a beautiful richness and the grain allows
for both naturalism and strength of form. I have a beautiful
piece of American black walnut in the studio and I think I’m
going to carve a Mannerist-style frame with it.

What sort of finishes do you prefer and why?

A few years ago, I used to gild the majority of my works but
now I enjoy leaving them without a finish. Occasionally I
might use a bit of wax, but on the whole, I love allowing
the grain to sit as it naturally would.
8

9 10
7 Coiled snake, 2021. Carved European walnut. Walking stick handle for James Smith & Sons. 5 x 5cm 8 Coiled snake, 2021. Wax. 5 x 5cm. 1st prize in the modeller’s
category for the Goldsmiths’ Craft and Design Council awards. 9 Hatchling, cast bronze 10 Medusa Mirror, 2021. Oak. 35 x 40cm

13
 14

Did the Covid-19 lockdowns affect you,

your work or your carving?
The lockdowns did take me away from
carving for quite a few months. Luckily,
I had a part-time job at the time, so I
was able to go on furlough. Due to my
11 previous medical history, I shielded with a
friend for a solid three months. As I work
across multiple mediums, I was able to
keep making. I mainly worked with soft
modelling wax and enjoyed the process
of discovering a new material.
I also created a spoken-word audio
piece for BBC Arts as part of the BBC New
Creatives programme. The resulting work,
Day Zero, is a surreal account of a stem cell
transplant told through poetry and sound
collage. It was made in collaboration with
sound designer Edward Simpson.
You can listen via my website:
www.sarahgdavis.co.uk/work/dayzero

What sort of projects

are in store for the future?
Having just finished my most recent
Octopus, I am in the process of gathering
resources for my next carving. I have a
few ideas I really want to explore, and
12 I plan on sourcing the right woods and
pinning down the approach I am going to
take over the next few weeks. I’ve recently
become very interested in fossils and, in the
meantime, I want to make a work in clay
of a fossilised dinosaur’s nest. I plan to
leave this work open to the possibility of
being carved in the future or I may make
a mould of it and create plaster casts.

What do you do when

you’re not carving?
When I’m not carving, I am typically
teaching carving, which is a nice way
to complement my making process.
I enjoy working across many mediums
and have been learning the art of
medieval illumination. It is such an
exciting process of discovery. I love
peeling back layers of history to work
out how these artworks were made.
13
11 Octopus, 2021. Carved limewood 12 Octopus, 2021. For the Grinling Gibbons 300 Award 13 Sarah www.sarahgdavis.co.uk
Davis carving in the studio 14 Adder convex mirror, 2019. Carved & gilded limewood. 50cm diameter Instagram: @sarahdavisartist

14
 Art Nouveau tracery panel
Steve Bisco carves an Art Nouveau-style panel with unusual provenance

There are many places you might look for Art Nouveau decoration, but you gilded in copper and silver leaf to ref lect their original
probably wouldn’t think of looking in a church. Unless, that is, you have heard decoration. The whole panel is 380 x 200 x 25mm.
of the church of St Mary the Virgin in Great Warley, near Brentwood in Essex. Although the church’s original woodwork is mainly in
This church was built in 1902 by architect Charles Harrison Townsend walnut, I have used a piece of cedar I had in stock as I
(1851-1928) and decorated in the ‘modern style’ which we now call Art Nouveau thought it would make an interesting change to carve
(see box) by artist and sculptor Sir William Reynolds-Stephens (1862-1943). It in this wood. You can choose to use whichever timber
is one of only three Art Nouveau-style churches in England and attracts many you prefer. I have used French polish to finish the
visitors from Britain and overseas as one of the best-preserved examples of the panel and seal the metal leaf.
style. Its most striking feature is the silver half-dome ceiling inside the apse,
decorated all over in silver leaf with a framework of silver ‘stiff leaf’ decoration
and bunches of red grapes. There is a lectern made of copper in the style of
Charles Rennie Mackintosh (but not by him) and some screen posts with
f luid bronze bases with the elbow bends typical of Art Nouveau. Among all
this there are carved wooden screens and candlestands with a kind of tracery
decoration that is the unlikely hybrid of ‘Gothic meets Art Nouveau’. The
church has Grade I listed status as a historic building (see Wikipedia entry
on https://en.wikipedia.org/wiki/St_Mary_the_Virgin,_Great_Warley).
I have worked several of these features into a pierced panel designed to
capture the essence of Reynolds-Stephens’ ecclesiastical interpretation of the
Art Nouveau style. The ‘tracery’ elements show the ghost of Gothic ‘stiff-leaf’
foliage worked into the f luid ref lex bends of Art Nouveau. The central stem
includes features from the bronze bases of Reynolds-Stephens’ screen posts
and the stylised f lowers from the tops of his screens. Both are (optionally)
1

16
Things you
will need
Tools
Gouges:
• No.3, 10mm, 5mm bent
• No.3 fishtail,
18mm, 10mm
• No.4 fishtail, 6mm
• No.5, 7mm,
13mm curved
• No.7, 10mm
• No.8, 8mm
• No.9, 20mm, 3mm,
16mm curved
• Short bent, 8mm
• V-tool, 6mm straight,
2mm straight
2 3
Chisels:
• Flat, 20mm,
6.5mm, 3mm
• Skew, 10mm
• Hooked skew, 16mm

Other:
• Jigsaw
• Bandsaw

Materials
Wood:
• Cedar, 380 x 200 x 25mm

Finishing materials:
• French polish
• Gilding size
• Copper leaf
• Imitation silver leaf
4 5

Art Nouveau style Preparation

1 Get a piece of a suitable timber 380 x 200 x 25mm
The Art Nouveau style flourished from about 1890 to 1914. Like most (I used cedar) and get a full-size copy of the drawing.
new styles it was originally just called ‘modern style’, but later the You can get the drawing made up at a print shop or
French name Art Nouveau, meaning ‘new art’, was applied because you can scan it into your printer and print it out on
it was the 1900 Paris World Fair (Exposition Internationale des Arts two overlapping A4 sheets. Trace the drawing on to
Nouveau) that did most to promote this new style that had developed the board with carbon paper, and mark the cutting
throughout Europe and America. In eastern Europe it also went by the lines in red.
German name Jugendstil (young style), and in Italy it was called
Stylo Liberty (Liberty style) after the London department store so 2 Cut out the internal voids with a jigsaw. Hold the
closely associated with the style. Art Nouveau is closely related to the board in a bench vice, or clamp it to the bench with half
Arts & Crafts style and the two are often confused, but Art Nouveau of it overhanging. Be aware that a jigsaw blade may f lex
is generally more fluid, sinuous, and ‘modern’ than the Arts & Crafts a little in the turns, so don’t cut too close to the line.
style, which focuses more on traditional craftsmanship. In the If you have a scrollsaw, use that instead of the jigsaw.
applied arts, Art Nouveau found physical form in architecture and
decorative objects. Cast iron and wood were used to create sinewy 3 Cut round outside with a bandsaw or scrollsaw,
and convoluted columns, stair rails, canopies and other elements in if you have one, to avoid the f lexing problem, but if not,
buildings. Copper and silver leaf were used instead of gold leaf to continue with the jigsaw.
decorate surfaces and features. Beautiful glassware was created by
a new breed of glass makers, most notably René Lalique in Paris 4 Fix the carving to the bench using blocks of wood to
and Emile Gallé in Nancy. Some cities, such as Paris (France), Riga hold it in place. It helps if you can walk right around
(Latvia), Glasgow (Scotland), and Vienna (Austria), were leaders in your bench to get the best cutting angle without needing
the Jugendstil/Art Nouveau style and the department stores Liberty to move the wood. We are now ready to start carving.
(London) and Tiffany (New York) were prominent in selling household
wares and decorative items in the style. After becoming the leading Roughing out
decorative style in the late Victorian/Edwardian period, Art Nouveau 5 This carving has several overlapping elements in a
gradually fell out of fashion in the First World War and was replaced panel only 25mm thick, so roughing out is important
by Art Deco in the 1920s. to establish the relative levels. Start by separating the
main sections with a V-tool so they are more visible.

17
 PHOTOGRAPHS BY STEVE BISCO
6 7

6 Next, we need to scoop out the hollows

in the lower centre of the stiff leaves, beside
the main stem. Take the inner edge down
to a thickness of about 13mm.

7 Lower the level of the main stem to about

15mm thick along its length, carefully
working in among the overlapping leaves.
Also, shape the outer edges of the top f lower
to separate it from the upper leaves.

8 Rough out the shape of the main stiff

leaves with their various ridges and curves.
Slope the upper part of the leaves away from
the f lower, down towards the outer edges.
Slope the lower stem of each main leaf
down towards the base, working it below
the edge of the lower leaves.

9 Rough out the lower stiff leaves, with 8 9

their f lame pattern, so their outer edges
are low enough to meet the rounded
ends of the ‘bobbin’ feature at the bottom.
Form a hollow in the lower centre and
carve hollows down to each of the ‘eyes’
with ridges in between them.

10 Shape the base section and the bobbin

feature, using the foreshortening technique
to make the bobbin look round without
reducing the central stem ‘plinth’ by more
than 10mm. Redraw the heart pattern on
the plinth.

Carving the detail

11 Carve the details on the bobbin and 10 11
base of the central stem. The heart and the
coves each side of it are shallow and f luid.
Take care not to break bits out of the 8mm
bead that runs across the grain.

12 Shape the central stem up to the f lower

head. Carve a chamfered cove along each
side and a shallow concave hollow up the
middle. Concave surfaces are a typical
Art Nouveau feature.

13 Carve the detail on the f lower, using

foreshortening again to make the mainly
f lat surface look more round. Create
shallow coves on the surface of the petals
12 13
and the lower sepals.

18
14 15

17

14 Carve the detail on the upper part of the main leaves.

The top part should slope away from the f lower to the outer
16 edges with shallow coves breaking up the surface. Below that
is a swirl, with slightly deeper coves, f lowing out and down
under the sides. All the coves and ridges must be soft and
subtle in the Art Nouveau style.

15 Halfway down the two main leaves there is a complex

section of small swirls with deep cavities in the middle. Like
many Art Nouveau patterns, it is a bit vague and difficult to
translate into tool cuts. Just remember that it does not bear any
relation to anything in the real world and try to follow the spirit
of the style with its elbow bends and shallow hollows. A No.7,
10mm gouge and a No.9, 20mm will help you shape the shallow
coves and soft ridges.

16 Refine the details on the rest of the two main leaves. Make sure
the ridges and coves f low smoothly from the base plinth up to the
f lower at the top and blend in with the other sections of the leaves.

17 Refine the f lame-like details on the two lower leaves. Sharpen

the ridges and smooth the surfaces of the coves. Smooth and refine
the faces on the sawn vertical edges of the pattern. Make sure
everything f lows smoothly in the Art Nouveau style.

18 Turn the carving over on a soft surface, with blocks around

it and a batten screwed across the top to hold it in place. Slightly
undercut all the edges so it all looks neat when viewed from
18 the front.

19
 19

19 Art Nouveau carvings are nearly

always smooth and f lowing, so they
benefit from a good sanding with fine
abrasives. Soften the ridges and edges
with the abrasives as well as the broader
surfaces. Here is the finished carving
before decorating.
20

Finishing
20 I have used French polish as my
finish to give the pale cedar a golden
glow. Apply the first two or three coats
thinly by brush. Work fast as it dries
very quickly and will create smudgy
patches if you linger too long with
the brush.

21 Get some copper leaf, sold quite

cheaply in most art stores, and also
some gilding size, a brush to put it on
with, and a soft brush to press down
the leaf. Apply some gilding size thinly
to the petals. Leave it 5-10 minutes until
it is dry but slightly tacky to the touch.
The leaf will stick exactly where you
put the size, so apply it carefully. Cut
a sheet of copper leaf into sections to
fit the petals and use a folded piece of
paper to pick up a piece, then slowly and
carefully place it on the sized area. Press
it down gently with a soft brush and
brush away any loose pieces of leaf.
Continue over the whole area, and go
over any gaps with more leaf.

Carving with cedar

Like most woods, cedar has
advantages and disadvantages for
carving. It is a softwood (pencils are
made with cedar) but it has a fairly
coarse and brittle grain, so your tools
must be sharp to avoid crushing,
tearing, and splintering. 21

20
22 23

22 Get some silver leaf, and repeat the process

on the sepals beneath the petals. Try to get a
clean edge where the copper and silver meet.

23 Repeat the process at the bottom of the

carving with copper leaf on the plinth and
bobbin, and silver on the heart.

24 The copper and silver leaf needs a sealer to

stop it tarnishing, so apply a thin coat of French
polish over it to give an ‘antique’ finish. Also
give the whole carving one or two more coats
applied by cloth. Here is the carving finished
and decorated to ref lect the Art Nouveau style
found in St Mary’s Church, Great Warley.

Useful tips & advice

• Always wear a dust mask when using an
electric saw as all dust is bad for the
respiratory system, but especially so when
cutting cedar as the aromatic dust can cause
irritation to the chest, nose, and throat.
• When making a symmetrical carving,
carve the pairs of features on the opposite
sides together before moving on to the next
pair of features. That way it is easier to
make both sides look the same.

Foreshortening
This carving uses a board only 25mm thick,
but we need to make the big f lower at the top
and the ‘bobbin’ feature at the base look
rounded and three-dimensional by using an
optical illusion known as ‘foreshortening’.
Using a shallow curve at the edges of the upper
surface, and then increasing it to a steep curve
that curls around and under the back edges,
the eye sees the resulting oval cross-section
as a much thicker and more rounded object
than it really is. ⬤
24

21
 The Westminster angels
As part of a team of experts, guest editor Will Barsley helped restore part
of Westminster Hall – and was inspired to recreate the medieval carvings

From 2018 to 2019, Will was part of a team Faithful replicas

of expert craftsmen who were tasked with Towards the end of his time on the restoration
restoring the medieval hammerbeam roof of project, Will came up with the idea of carving a
Westminster Hall, the oldest building in the replica angel. The originals are over 8ft long so Will
Palace of Westminster. During his time working decided to make a smaller version. He based it on
on the roof, Will fell in love with the carved angels angel E3, which is on the third truss on the eastern
that form an integral part of the structure and, using the side of the Hall. This was his favourite: ‘It was the
medieval techniques he had learned, decided to create his only one that seemed to have a little smile on its
own hand-carved replicas for the Houses of Parliament Shop. face’, he explains.
He took measurements and sketches of key
elements of the angel as part of his work, and spent
Historic masterpieces his days at home making a clay model. From this,
Westminster Hall was originally built in 1097 by William II, he could then carve the piece in wood, using the
and the hammerbeam roof, commissioned in 1393 by Richard II, model as a working guide. ‘I found that carving my
is the largest medieval timber roof in northern Europe. The work own angel gave me unique insight into the minds of
was undertaken by master craftsman Hugh Herland, who used the medieval woodcarvers, which in turn helped to
English oak, probably from the royal woods in Hampshire and inform my own work on the restoration of the Hall’,
Hertfordshire. The roof is considered one of the greatest says Will.
carpentry achievements of its time. In collaboration with the Houses of Parliament
As a carver, Will’s main task was to repair the 26 angels that Shop, Will now produces hand-carved angel
form an integral part of the roof structure. As the Hall was being sculptures that are made to order and therefore
used by the public during the day, Will and the team had to work entirely unique. To accurately reproduce the angels
by night, which created unique conditions for experiencing the in English oak, he uses the same tools and materials
space. Will describes it as a magical place: ‘Working in an empty as the medieval woodcarvers would have done 600
hall with the ceiling lit up, you could almost feel the presence of years ago, employing a chisel and hammer to carve
the original medieval craftsmen who worked on the roof – as well out the detail. It’s a time-consuming process; one
as those who have helped repair it throughout its 600-year history.’ small slip and the piece might need to be started all
Over the course of weeks of intense work, Will was able to over again. Yet each chisel mark left on the angel
observe the angels close up in incredible detail. He was able to is unique and tells a story of how it was made.
spot the differences in styles in angels made by different carvers,
and noticed tiny details impossible to spot from ground level, For more information,
such as fingernails, jewellery and extra feathers. see www.shop.parliament.uk

22
 PHOTOGRAPH COURTESY OF UK PARLIAMENT
Westminster Hall’s hammerbeam roof dates to the 14th century
PHOTOGRAPHS COURTESY OF WILL BARSLEY, UNLESS OTHERWISE STATED

Will’s replica
is based on E3,
the ‘smiling angel’

Will’s replicas capture

the intricate details that
are impossible to see
from ground level

23
 Victorian carol singer
Christmas is on the horizon, and Peter Benson adds
a bit of Dickensian-style nostalgia to proceedings

If you ever are reduced to watching Christmas movies, as I was after a

spell in hospital during the lockdown when I was unable to go anywhere,
you will no doubt have noticed what appears to be the same group of
carol singers in every featured town across the world.
All of these are dressed in what I would imagine is typical Victorian
costume, or at least what the film makers think is typical. Whether
correct or not, I think that the appearance of these singers heralds the
season very nicely (sad isn’t it?).
As a change from Santas, Tomtes and snowmen, I thought I would
succumb to the possible traditions of Christmas and go Victorian. I will
cover the carving of a male singer step by step and show a suggestion
for a partner for him that I am sure you can work out for yourselves.
I have used a piece of jelutong 50 x 50 x 130mm, but you can use
whatever wood you have available and make it whatever size you wish.
The process will be the same.
You should only need to use a knife and possibly a couple of small
gouges, say 3 x 9mm and 5 x 5mm. The gouges are really only to get
into awkward corners so you can probably use any that you might
have in your tool box.

1 2

Patterns 1 & 2
Draw these patterns on to your block making sure they line up with each other.
I put a line square across the block level with the top of the hat and made sure that
the other pattern also lined up. Be careful to allow enough wood for the brim of the
hat as it slopes down at the back and, if you are bandsawing this, you can have saw
cuts where you don’t want them – believe me, it has happened to me at least once.

24
 11

4
7 12

correct. Before doing any

more carving, mark the
various datum points on
your block.
1 6 & 7 Now rough out the
whole figure, getting rid of
all the square edges and
ensuring that everything
is in the right place.

8 8, 9 & 10
I suggest you now get the
basics of the face right while
you have enough wood to
make any second attempts
5 if necessary. While doing
this, you can shape the
scarf and refine the hat.

11, 12 & 13 When you

are happy with the top half,
move on to shaping the legs
and feet. You will be wise to
draw the shape of the feet
on the underside to ensure
9 that they are both the same
– check with your shoes.
Have a look at how the
creases are formed above
the top of the shoes before
2 you carve them. They are
easy to get wrong and so
easy to avoid mistakes. Draw
in any extra details you
want to include – this will
6 10 depend on how confident
you are that you can carve
1 Cut out the shape you have with the head as this is where them successfully. You can
marked using either a bandsaw most things can go wrong and leave the figure as it is with
or a coping saw. I would rather this happened at no hand detail (he could be
the beginning than when I have wearing mittens) or you
2 Using the picture of the spent hours on a piece. Don’t could draw in and carve the
finished carving, mark in any forget that he is wearing a scarf fingers (see picture 13). You
areas that can obviously be and you must allow for this. could suggest, or paint, any
removed, and shade them in. facial detail. I have sanded
4 & 5 It is important that the hat and song sheet as
3 You can now start to remove you get the limbs on each I think it gives a bit of a
some of this waste wood with side of the body the same and contrast, but this is up
3 the knife. I always like to start that you have the proportions to you.

25
 14 & 15
If you want to leave
it natural, all you
now need to do is
give it a couple of
coats of finishing
oil or wax polish.
I have decided to
paint everything
except the face
and hands.

13 14

16

16 Above is a pattern
and picture of a female
singer if you wish to
give him a partner. ⬤

15

26
 Larping chest
Kevin Alviti has a larp with this unusual project

I love an odd request or idea. So when I was talking to a man the I’d love to make this chest in oak or walnut, pick through a stack
other day and he told me that he ‘larped’ I was instantly interested, of boards and select the finest quarter-sawn boards money could
once I’d figured out what it was. Larping is Live Action Role Play, buy. But again, cost comes into play. Instead, I’m using some of
basically a live-action version of Dungeons & Dragons, where the timber I use and buy in regularly, ‘unsorted redwood’. I get
groups of enthusiasts meet up and pursue goals with each other this as sawn boards and, as I’ve ordered them in, I don’t get to
as the characters they’ve chosen to portray. Apparently, these meet- pick through the shelf to choose just the good stuff. What I do is
ups can go from just a few friends for a few hours to thousands of grade the boards myself by eye as I take them and save the best
people over a whole week. (with the fewest knots or defects) and use them where they will be
Well, you could colour me intrigued. He pulled out his phone seen the most (often for the carved seed boxes I make and sell).
and showed me some pictures – the costumes were incredible and When you’re buying wood for this project, I’d recommend you
every item around them was in detail as well. Many of those items spend a bit of time looking for the right boards – knots where the
were wooden, so my mind instantly switched to wondering what carvings will be will only make things harder for you. Try to go
interesting things I could make. to a timber merchant rather than a DIY shop if possible.
The man in question, Anthony, said that he was struggling to Softwood isn’t ideal for carving, it might be worth practising
find a chest to store a few items of clothes and other belongings first on a piece to see how you like it before committing to the
with him. An old-fashioned chest was right up my alley. He project. Sharp tools will help though, but I did regret using this
showed me some rough dimensions and said that the carvings wood about two minutes into the carving. I wish I’d gone for tulip
ideally needed to be Viking-inspired. as a cheaper alternative to more expensive hardwoods. The pine
Making a chest is always blighted with difficulty. Thinking about struggled to take any detail and the only reason it got completed
wood expansion and contraction is always in my mind. There was was the size of the design; still, I suppose I learnt plenty along
no way I could use plywood, so instead, I turned to the past and had the way. Remember, if it’s perfect then it isn’t art.
a look at some older-style constructions. The Anarchist’s Tool Chest
was the first book I came to, the base for that chest is simply nailed
to the bottom of the sides. The same with chests in Joiner’s Work,
by Peter Follansbee. Some of the older chests also just had rebated
corners, which would make this build much faster (and far cheaper
labour-wise) to construct rather than dovetails or anything fancy.
So the chest is to have fairly simple construction but be
embellished with a carving on the front. The drawing from the
carving is loosely based on a small panel in the Book Of Kells that
I saw in another book, Celtic Art: The Methods of Construction,
by George Bain.

28
 TOP BOTTOM

Holes to
accept feet
if using

410mm 406mm

760mm 730mm

SIDE BACK & FRONT

Rebated
12mm deep
to accept side
215mm 215mm

360mm 706mm

HINGE Ø 18mm tenon

380mm
Ø 45mm
FEET
25mm
55mm

Hole to accept
dowel for hinge

Things you will need

Tools Carving tools
• Mitre saw Honestly, use what you have to • No.6, 6mm gouge, • Cranked No.1,
• Router table fit the curves. Here is a list of the No.6 fishtail 4mm gouge
• Planer thicknesser chisels I had left on my bench • No.6, 6mm gouge fishtail • No.6, 20mm gouge
• Biscuit jointer at the end, although I wished • No.2, 30mm gouge • No.3, 25mm gouge
• Sander for some larger, softly sweeping • 12mm 60° V-tool • No.10, 6mm gouge
• Drill gouges to speed a few things • No.6, 12mm gouge • No.4, 7mm gouge
• 12mm Forstner bit up, especially when lining in. • No.3, 12mm gouge • Three-corner punch
• 3mm drill bit • No.5, 30mm gouge • Stippled punch
• Rotary tool • 35mm straight Allongee chisel • No.4, 12mm gouge • Fine nail punch
with fine-tipped burr • 16mm fine straight chisel • No.6, 6mm gouge • Skew chisel
• 12mm fine straight chisel • No.4, 9mm gouge • Carving knife

29
 1 Select some really fine boards. If you have
the option, try to pick some that are quarter
sawn so it will minimise movement in the
chest. These boards aren’t the ideal species
for carving but they are clean and clear.
7
2 Plane up all the boards to the right size.
They all want to finish around 21mm thick.
Make sure they are planed square edge to
make assembly easier later.
1
3 Select and crosscut some boards to make
the top and bottom of the chest. Make sure
they will match up well and then mark
where you want the biscuit joints to go
(or your preferred method of joining
the boards).

4 Apply glue to all mating edges and over 8

the biscuits. Then clamp these boards up
and leave for the glue to go off.
2
5 Crosscut the sides, front and back of the
chest, allowing for the rebate we’re about to
cut. Cut the rebate using a router table or,
alternatively, you could cut by hand, chisel
out the bulk of the waste and get a fine
finish using a router plane.

6 Mark out an even grid on your board.

Mine was 80mm squares, which allowed
me to transfer the picture on to the wood.
3
It takes a while to draw it all on there,
but it’s worth taking your time, especially
where lines cross or one thing goes
under another.

7 The picture enlarged like this is quite a

bold design – it’s worth taking some time
to look at the intersections. Rub out any
9
lines that are wrong to prevent mistakes
when striking in the lines.
4
8 Start lining in. I just found chisels that
matched the curves I was trying to follow
and strike with a mallet. Some lines got
altered to match the gouges, it wasn’t
something I was particularly worried
about. I tended to work in the square
10
sections here as I got a bit overwhelmed if I
did each task for the whole project in turn.

9 With some outlines in, start to lower the 5

background using a No.6 gouge. This will
remove some of the waste quickly, although
it might be necessary to do this step a few
times to reach the desired depth, especially
in the unforgiving wood I was using.
11

10 With a shallower gouge, like a No.3,

level up this lowered background. Try to
get it as smooth as possible as you go (it’s
horrible going back all the time), but also
remember we will texture the background,
which will help with some tricky areas.
6

11 It might be necessary to use different 12 Use a shallow gouge, like a knife, to

chisels to get into the tricky spots. A skew make some of the detailed cuts (like the
chisel is handy here, as is a small, cranked, beak) working one way and then back the
f lat gouge to get right up to the lines. other to release the waste.
12

30
 13 Where parts of the carving overlap,
try to make everything have its own
level. Some bits will weave under other
bits, so it’s essential to make sure these
transitions are carved to show that.
A shallow gouge is a good way to keep
this looking f lat on the ‘ribbons’ that
travel around this carving.

13 14 Some parts, like the mistletoe or

grapes (I think that’s what they’re
supposed to be), can be tricky. I found
19 gouges that worked for the right curve
and struck them lightly, it’s too easy to be
heavy here and cause wood to break off.

15 Give these some shape by using the

back of the gouge in a lifting-slicing
motion. Easier said than done in pine,
but with a better wood, it should give
you a crisp ball shape.
14 16 Shape any bits of the carving that
need it. The ribbons I left with hard
edges, but with the birds and a few other
20 bits I softened the edges to give a more
organic feel. Use a shallow gouge the
other way up and make sure you only
travel with the grain to prevent it from
digging in.

17 Use a carving knife to go over the

carving and remove any wispy bits.
This can also help neaten up any edges.
15
18 With a textured punch, stipple the
background as much as possible. This
will hopefully help show some contrast
between that and the carvings which
21 make up the front.

19 I did end up using a rotary tool to get

into the tricky tight corners and to add
some more texture into the background
where I didn’t have a punch small enough.
16 20 I know purists hate seeing sandpaper
in an article, but to smooth out a few
areas and transitions, I used some fine
sandpaper by hand.

21 There are lots of straight lines on

this carving, so to edge it all properly,
22 I used a V-tool at the end to just put
those lines back in that had been struck
earlier with a straight chisel.

17 22 It’s easy to keep carving something

forever, instead, take it outside and have
a look under natural light (which is what
this rather candid picture is supposed
to show) and try to get it to a level that
you’re happy with – something I’m not
very good at finding.

23 Sand the top and bottom boards

ready for assembly. Crosscut these to
size to neaten the edges. Rout a profile
on the top and bottom. I used a 6mm
18 23 roundover bit with a quirk at the top.

31
 24 26

25 27

24 I couldn’t find any old-fashioned nails so used some

lost head nails where I shaped the ends with a ball peen
hammer. I held the nails in a metalworking vice and only
tapped them softly – any harder and it bent the nails.

25 Assemble the base. Glue then nail the front and

back to the sides first, it might be easiest to use a
large woodworking vice here to hold it while you nail.
Pilot every hole you nail – it would be a shame to split
anything now. Check for square then nail the base on
to the uprights.

26 The wooden hinge takes a bit of figuring out. I’d

recommend you cut the cleats and have a good look
at it before committing yourself to making any cuts
or holes. I used some scrap wood to work out where
28
everything was going first.

27 Drill the holes for the dowel with a 12mm Forstner

bit. Glue the dowel into the chest and leave it to go off.
Mark up where the cleats will sit on the top.

28 I had to chamfer the back of the chest where the

lid lifted up. Whether this is through poor layout or
the way it’s supposed to be I can’t tell.

29 The lid has to be fixed on in situ. I used screws

to fix the cleat to the lid, then covered these with
some wood pellets. Only do this to one side until
you apply a finish, otherwise there will be bits of
the chest you can’t get to. I also turned four feet
and fitted these to the base.
29

32
Useful tips & advice
Sample board
Sometimes for a project, I’ll machine
up more wood than I need and use it
for practising different techniques
to see what will or won’t work. Here
I practised some of the carvings
before committing to it completely
and texturing. I even messed about
using some different blends of paint
as well as trying different positions
for the dowels in the hinges.

Grubby mitts
Watch out when using steel nails
– it’s very easy to get finger marks
all over your work.

30 Use your choice of

finish for the chest.
I’m sure in the past these
chests would have been
painted, and I’ve read
about examples to prove
it – I’m just not brave
enough. So instead,
I stained it a darker colour,
using Briwax, thinning
some down with white
spirits and applying it
with a brush to the carved
area and just rubbing it
in, undiluted, over the
rest of the chest. Once
I’d applied two coats I
assembled and fixed the
lid. Handles and a latch
will be added later when
30 it’s all completely dry. ⬤

33
 Valentine’s Day frame
Dave Western makes a romantic gesture

With Valentine’s Day just around the corner, I thought it Allow me to point out that ornamenting a carving for romantic
might be a good time to ref lect on how much domestic purposes need not be a Baroque ordeal. Most carving from the
woodcarving (as opposed to the professional type of carving glory days of romantic and decorative domestic woodcarving
typical to churches and manor houses etc.) has changed over made use of only a few simple techniques to achieve a look of
the last couple of hundred years. While previously the men of surprising sophistication. The addition of a few simple elements
the house would be responsible for the fashioning of all manner such as lettering, chip-carved geometric patterns, wax inlays
of wooden implements, industrialisation post-1900 has largely or rudimentary fretting can completely change the look of a piece
done away with the need for this kind of home toil. Sadly, along from basic to ebullient. With this piece, you can choose to go
with the loss of an enormous range of wooden items has come ‘all-in’ as I did, or leave some of the detailing out for a slightly
a huge decline in woodcarving as a decorative endeavour. Not more subdued piece. Either way, you’ll be rewarded with a lovely
only do we no longer need to carve and ornament butter pats, little frame that will bring delight to your Valentine’s sweetie
mangle boards, or oxen yokes, but we scarcely ever consider and to everyone who views it.
embellishing the cutting boards, jewellery boxes or spoons that
we do still make (at least outside the niche lovespoon realm).
Where once a wooden implement would be festooned with
a rich range of ornamentation that might indicate everything Things you will need • Drill and pretty much
from the maker’s skill to his love for the person it may have whatever size bit
been presented to; nowadays most carvers would rarely Tools & materials you have on hand
consider this f lorid and unabashed type of decoration a good • 1in straight knife or similar • Glue stick
thing, and generally opt for a less busy finish. • 1⁄4in chisel • Penetrating oil
I believe there is still a place for this type of undisciplined • No.1,1⁄2in f lat gouge
and passionate detailing in modern carving and offer this • No.1, 1in, f lat gouge Optional tools
picture frame as a romantic little project you can make • Range of abrasive papers • Router and channelling bit
with simple tools and then give to that someone special (150-320 grit) • Sealing wax and lighter
for Valentine’s day. I guarantee it will go down much • Scroll, jeweller’s, • Cabinet scraper
better than any store-bought items. coping or keyhole saw • Glue stick
34
 Frame size: 8 x 10in
Picture opening: 31/2 x 51/2in
For photo: 4 x 6in

2 The only part of this job where I used a

speciality tool was for cutting out the opening
for the photograph window. I used a drill then
a scrollsaw to achieve this, but I could have also
made use of a drill and a jeweller’s handsaw,
or even a keyhole-type saw.

3 However you do it, aim to cut good, straight

lines and get crisp 90° junctions at the corners.

1 4 With the picture window removed, glue the

pattern directly to the board with a standard
4 glue stick or diluted carpenter’s glue. If you
have used a photocopier to print the pattern,
ensure it is the full 8 x 10in size so that all the
details line up properly with your workpiece.
I began by cutting out all the small hearts
(marked in red on the pattern) so that I could
do the wax inlay right away. You can opt to
simply carve the red hearts in the same fashion
as the larger hearts if you have no access to
sealing wax or if inlay is just not your thing.
2 Use a 1in straight knife and a small ¼in chisel
5 to scribe the heart shapes and then to lower
the interior area down to a level depth of
1 I made this frame from a standard about 1⁄16-1⁄8in deep.
¾in finished thickness timber that was
10in long by 8in wide. I chose this 5 If you opt to inlay, use quality sealing wax
dimension to accommodate a 4 x 6in (available at art suppliers and good stationers)
photograph leaving a visually pleasing but stay away from candle wax or wine bottle/
2¼in surround. To keep it as simple as cheese wheel wax etc., as these waxes are pretty
possible, I opted not to undertake any thin and the dye fades quite quickly. Sealing
fretwork and to concentrate on chip wax is thick and drips slowly which, despite
3 carving and low-relief carving instead. my photo, makes it easier to spread accurately.

35
 6 Ensure the entire area is evenly filled
and there are no air bubbles. My shaky
hand splattering wax all over the place
answers the question: ‘Why wax first?’
It is easier to get the wax off the paper
than it is if it creeps into any surface
blemishes or cuts that may be present
in the unprotected wood.

7 Leave the wax to dry for a good 10-15

minutes before gently paring it f lush to
the surface of the piece with a No.1, 1in
6
f lat gouge, similar-sized chisel or cabinet
7
scraper. Do not sand it f lush or you will
have a mess on your hands as the heat-
caused friction melts the wax and drags
it where you don’t want it.

8 With all the wax inlay hearts completed,

you can move on to the lettering. Because
I wanted to keep the carving as low-tech
and in line with the limited tool supply of
yesteryear as I could, I did the lettering
with only the straight knife. If you have
access to a range of gouges, then by all
8
means use them and make your life easier
for the curved sections. If you opt to go
9
the knife route, scribe a line through the
middle of each segment of the letter. Keep
the knife at 90° and aim for a cutting depth
of approximately 1⁄8in. To ensure your knife
doesn’t wander off course, cut gently in
two or three passes, adding a touch more
depth with each consecutive cut.

9 With the centreline scribed, cut in at

approximately 45° from each side. Aim for
the tip of the knife to arrive at the same
10
central low point with each cut. Again,
cut in two or three passes if you aren’t
confident you’ll get it right with one.

10 The lettering can be tricky to get just 11

right if only using a knife, so take your time
and don’t be afraid to go over it all a second
or even third time. The ‘arm’ of the letter ‘A’
is fully cut out with the ‘body’ only scribed.
Note that both sides of the ‘arm’ cut are
clean, straight and meet nicely at the low
point of the V-cut.
12
11 These cuts are a bit more ragged and
don’t quite meet at the centre of the V. This the lettering, meet at the bottom of the
leaves a noticeable line that looks scruffy V and ease back to create a nice, soft
and amateurish. The letter ‘I’ illustrates round-over cut.
how the carving looks a stage further along
after another pass or two of clean-up cuts. 14 The corner hearts take some doing 13
and by the time you are finished with
12 Once you are happy that the letters them, you will likely be ready for a change
all look nice and crisp, I suggest moving of pace. The chip-carved patterns are a nice
on to the four big corner hearts and begin place to head next. As with the lettering,
shaping them out. Begin by scribing the use the tip of the 1in straight knife to scribe
heart by using the 1in straight knife to a vertical line through the centre of each
cut a vertical scribing line of 1⁄8in depth section before using the same knife to cut
around the entire heart. out the angled wedges. Be very aware of
the grain as you travel around the circular
13 Use the tip of the same knife to cut patterns. It is very easy to find yourself
a ramp of about 1⁄8in width that gives the cutting against the grain and creating
effect of ‘raising’ the heart. Next, dome a chip or tear-out if you are not on top of
the heart with gentle cuts that, as with things at all times.
14

36
 thick in front of the knife (in case
of slippage), rather than being
thin-edged from having already
been formed.

18 After all that geometric

carving, you might be ready for
a little break. Use the opportunity
to carve a gentle chamfer along
the four edges of the picture
window. Use the straight knife
20 and aim for a consistent 1⁄8in wide
by 1⁄8in deep chamfer that is even
15 and straight as possible. If you
are enjoying the Zen qualities of
some nice chamfering, you can
extend your meditation before
attacking the final section of the
frame by chamfering the outer
edge of the frame too.

19 Originally, I had intended to

fret the top section of the frame by
cutting out all the symbols marked
in solid black on the pattern.
21 However, that ran counter to my
idea of keeping things simple, so
16 instead, I opted to relief cut each
one with the knife. I scribed each
symbol with the tip of the straight
knife and then tilted the knife and
shaped each section to create the
raised effect.

20 If you find just using

a knife blade to shape the
smaller patterns gets a bit
22 tricky, consider using a chisel
to help clear material. I used
15 Here you can see the pattern with the same small ¼in f lat chisel
half the circle having both cuts made that I used to clear out the
17 and half with only the first cut. Notice inlayed hearts to do some of
that in a couple of the ‘arms’ the cutting the shaping and rounding over.
has gone against the grain and torn it
a bit. Fortunately, there was room for 21 In fact, I found the ¼in
another pass in the right direction to chisel so handy that I used
clean it back up. a No.1, ½in f lat gouge to do the
final rounding over and shaping
16 The rest of the geometric patterns on the larger three hearts and
follow much the same process for cutting, the corner hearts. If you don’t
with the exception of the pinwheel circles. have one to hand, the straight
There are two main issues to be aware of knife will most certainly do as
when cutting this particular design. The good a job if it is kept sharp.
first is that the grain direction changes
dramatically as you travel around the circle 22 Once the bulk of the carving
18 and even within each segment. Keep your is essentially finished, cut in the
knife razor sharp and make shallow and scribe lines that are ¼in in from
careful cuts. the outside edges and ¼in out
Here a cut has reached a point where from the picture window. This
the segment’s grain direction has subtly can be trickier than it looks as
shifted and it is now a safer bet to stop the knife might wander off line
PHOTOGRAPHS BY DAVE WESTERN

the cut and come back from the opposite if it hits some awkward grain.
direction to avoid pulling grain at the Go slowly and methodically,
outer part of the segment. not pushing in too deep. Once
you are happy that you have a
17 This illustrates the correct direction nice, straight line, repeat two
to travel around the wheel when cutting. or three more times, pushing
Always cut away rather than coming back in a bit harder with each pass.
toward yourself as you shape each segment. Aim to get the knife in a good
19 Cutting away ensures the wood is always 1
⁄16in deep.

37
 23 Next, tilt the knife to about 45° and
follow the scribe line, taking off a gentle
chamfer either side of the line and creating
a small V-channel along the lines. Aim for
consistency here and be very wary of the
knife wandering off course and making
wobbly lines.

24 When you are satisfied all the front

carving is finished, f lip the piece over and
mark off a pencil line, ¼in out from the
picture opening, and another line around
the interior edges of the opening at a depth
of ¼in from the front face of the piece.
23

25 These lines will mark out the channel 28

where the glass and photo will rest when
inserted from the back of the frame. If you
have a router and some suitable bits, you
can save yourself a ton of work, but I cut
mine by hand using the No.1, 1in f lat
gouge and the 1in straight knife.

26 The gouge makes the job of cutting

the long waste-removing chamfer which
connects the two lines much easier than
carving it with the knife, but if the knife
is all you have, be patient and avoid
24
cutting too deeply.

27 Use the straight knife to cut in at 90°

from each pencil line and begin forming
the L-shaped channel the glass and picture
will sit in. This can be done with the knife,
but again, a No.1, ½in gouge will make
29
the operation go much more quickly
and smoothly.

28 Take care to ensure the side walls

and corners are as close to 90° as possible.
Careful shaving with the 1in gouge will
let you achieve a good, clean finish.
25

29 With the picture opening completed,

ensure it is large enough and has been
squarely cut by testing a piece of stiff
cardboard and/or a 4 x 6in photo in the
opening. If it’s tight, shave a bit more
off the frame until you achieve a
comfortable fit.
30
30 Give the frame edges a light sanding
with fine abrasive paper (I went from
about 150-320 grit) and use a sharp scraper
or fine paper to clean up the front face.
Be sure to stay away from any inlay as
26
you’ll potentially scratch or smudge it.

31 Finally, give it a few coats of your

favourite penetrating oil and a light
buff with beeswax for a nice, satiny
sheen. I would avoid surface finishes
such as varnish or plastic, as they will
make the carvings look clogged and
too shiny. You can get picture frame
hanging hardware from most framing
shops or art suppliers. If you’d rather
not hang it, consider making a small
pair of wooden feet for it to stand on. ⬤
27 31

38
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• Profiles carver
SAMWORTH • Profiles carver David Stanley
Chris Pye
GUEST EDITOR

Profiles carver
Mike Denning
Demonstrates
strapwork border
carving
Makes a knife handle

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 Oak leaf frame
John Samworth continues his series
on strapwork with basic leaf shapes

This is a simple idea which offers great potential for a

wide variety of designs. Start by sketching a few outlines
of leaves. This will work for many other shapes too. Choose
your favourite three (a minimum number). I have included
a trio of such oak leaves here. Scale them up to life size,
typically 7-10cm. Make sure each leaf is a different size
from the others.
There are three basic shapes, but by turning the leaves
over these double to six shapes. Plenty for most purposes.

Things you Tools

will need • Ripsaw
• Fretsaw
Materials Gouges:
• Oak boards • No.11, 10mm, 6mm, 3mm
19 x 120 x 750mm • No.3 straight 6mm
for the frame, • 10mm skew
plus an extra • 6mm winged parting tool
300mm for (an alternative standard
the carving parting tool)

LEAVES & ACORN TEMPLATE

PHOTOGRAPHY & ILLUSTRATIONS BY JOHN SAMWORTH

1 Trace these (or your own design) on to a suitable medium to produce a

template. Stiff card or plastic will work, but I used thin plywood. Cut the
templates out with a fretsaw.

2 Labelling each leaf will help with the symmetry of the design. I have
added an acorn, but this is not necessary. However, if you choose to base
your design on pears, then having a couple of pear templates will be
beneficial. It will depend upon your choices.
2

40
OAK LEAF CORNER OAK LEAF BORDER

OAK LEAF CLUSTER

OAK LEAF FESTOON (WRAPPING AROUND THE CORNERS)

OAK FRAME

Using just these three templates, an enormous variety

of designs are possible. Above are four examples.

The concept here is to construct a pattern which is

balanced, rather than strictly symmetrical. If you look at
the centre cluster of six leaves, the green and blue pairs are
mirror images of each other, but the red pair fills in gaps to
balance the cluster. Now we have the tools for design, we
must choose what to place the design upon. I have chosen
a mirror frame, of classical, Greek proportions of 5:7:11
(side:top:bottom rails). A standard, pre-machined, square
edge oak is 19x120mm and perfect for the job. I only need
to rip a section down the centre to produce lengths 43mm
and 60mm wide.

3 I added interest to the simple square edge oak by

the inclusion of some moulding on the inside face.
Moulding may be added using a router or moulding
plane. There are many pre-prepared moulds available.
However, if you are like me and do not possess either, an
inexpensive option is a scratching block made from two
offcuts of oak, part of an old saw blade and a few screws.

4 File or grind the shape (any shape) you want for

your moulding and scratch the pattern into the inside
face of the frame. This is a simple and effective solution.
The smaller the cut, the easier it will be for anyone to
do. If, after your first time using a scratching block,
the moulding is a tad rough, it can be sanded smooth;
3 but with practice, this should not be necessary.

41
 5 6

5 One of the oak lengths had a slight twist in it, which

ran throughout one of the mitre joints. This was simply
corrected by sanding, both across the joint and along the
moulding grooves.

6 On an offcut from the frame, I traced around the

templates to create my desired pattern. Overall, the design
is an approximate triangle base, 250mm by 120mm high.
A small cluster of acorns in the centre acts as a focal point
for added interest while hiding any untidy convergence of
the leaves. I have marked each leaf to facilitate the carving.
I can quickly refer back to the template once the guidelines
have been carved away. Tip: Avoid carving into the ends of
7
any board, they often contain hairline cracks, which will
spoil the carving.

7 When I have previously carved leaves, I would start by

cutting out the basic shape and gluing the carving to a
backing board for fixing. However, I recently learned that
the commercial approach is to carve the leaves first and
only then cut them out. The reasons given were for ease
for fixing and carving, easier to cut the required shape
around the leaf than to carve the leaf within the pre-cut
outline and if the project needs to be restarted then less
time has been wasted. I was intrigued and decided to try
this approach.
8
Using the No.11, 10mm, and the No.11, 6mm gouges,
I roughed out the basic shape of a leaf. Initially this was
a strange approach, digging directly into a square board,
however I quickly became accustomed to it. Note from
the picture how I stared on the outside leaves working
in towards the un-cut centre. Any gouge slips will not
damage carved wood. I have on occasions carved outside
of the outline; this allowed the lowering of the edges.
In the top right you can see the relevant template
aligned as the plan for reference. Once the centre is
carved out, chase out the partition between adjoining
leaves using a No.3, 6mm straight gouge.

8 Continue around the outline, leaving the centre acorns

9
till last. This carving will be on top of the frame, slightly
above eyeline. They should be angled slightly downwards
for the best vantage point. I carved the front edge deeper
than the top, heavily carving outside the outline into two
thirds of the wood’s depth.

9 Keeping the acorns horizontal, mark the major

centreline and round over the edges to form a cylinder.
Re-mark the centreline.

10 Each acorn is joined to the leaves at one end and

angled downwards at this point. The highest part of
the acorn being about two-thirds along towards the tip.
Carve the ends back towards the leaves leaving the point
on the centreline as the high point. The blue centreline 10
is still visible at this point.

42
 Carving notes
1. Here is a deep negative space between two
leaf lobes. Carve right across here and cut
the space out with a saw. Note: The outline
is always redrawn in.

2. Here the central leaf overlaps the outlying leaf.

Chase out vertically, only undercut at the end.

3. Here two central leaves appear to abut each

other. Choose one to overlap the other and
chase out accordingly.

4. Here a blue dot is all that is left of the original

drawn-in centreline, and marks the high point
on the acorn.

5. Here deep sculpting is beyond the outline

to create a low point in the carving.

11 Add the detail to the shape.

Using a 6mm winged parting tool,
cut the leaf veins. This style of
parting tool cuts a gently curving
profile to the vein in a single cut.
Separate the acorns into cup and
nut sections, reducing the nut
fractionally to appear to fit inside
the cup. Use a blunt nail or small
nail punch to lightly add texture to
the cup section. Undercut several
sections of the leaves. You only need
to undercut those sections which will
11 be seen. Finally, add deep shadow in
the corners between the acorns.

12 Cut around the outline

with a fretsaw and sand the edge
smooth, paying particular attention
to removing saw marks and sharp
corners. Fold the paper over to
access deep between lobes. I used
a piece of carpet to protect the
carving in the vice.

13 Complete the carving with a

final tidy-up of the work. I removed
12 13 any remaining construction lines
with a No.11 f luter. I find they offer
a wider variety of curves than the
shallower gouges, allowing the
f low of the leaves to run to the very
edges. I removed any wispy edges by
scrapping the surface with a vertical
gouge. This kept the integrity of the
tool marks intact. Sanding will
also clean the work.

14 Apply a finish of choice,

I used beeswax. Assemble the
mirror, ensuring that the glass
is securely held in the frame.
The finished piece has an elegance
which surprised me – the Greek
14 proportions are quite striking. ⬤

43
 Not just The Tiny Turner
What happened when Emma Cook turned her hand to carving

At the age of 38, Emma Cook is one of the youngest members of the Register
of Professional Turners and earlier this year she was appointed as a committee
member. She is one of the few professional female woodturners working within
the UK.
After initially being introduced to woodturning by her uncle and her younger
brother, James, she soon caught the bug that was to drive her ambition towards
having her own business which could ref lect her devotion to becoming a
professional wood artist.
Along that journey there were wonderful opportunities to meet many
talented woodturners and craftspeople who encouraged and supported her.
One such person was the seated turner Tony Wilson, who took Emma as a
student. He shared his enthusiasm and talents for working with wood
unreservedly, inviting her along to numerous shows, and is still admired
by Emma today.
In 2013, Emma established her brand and founded The Tiny Turner. The
creativity she had always shown could now be channelled into the production
of singular artistic pieces of work, combining all her skills of turning, painting
and carving.
It was at the North of England Woodturning & Power Tool Show in 2008
that Emma was first introduced to Michael Painter – one of the few Master
Carvers left in the UK. He suggested that Emma should try her hand at carving.
Although initially terrified, Emma was persuaded to take lessons and once
again began to develop a love of this new-found art. Many tutorials later,
Emma was to complete her cherished carving of Errol – the Swamp Dragon

44
(a much-loved feature at any event). The Errol carving was inspired job to support all of these interests. Exhausting, to say the least,
by the character in Terry Pratchett’s Discworld novels and is based but entirely devoted to reaching her goals.
on the illustration by Paul Kidby. Emma continues daily to develop and diversify her ideas and
It was also during this time that Emma began her degree in talents with each new challenge, introducing a variety of skills
Performance Design at Leeds University, a very challenging but to create unique, sophisticated pieces of art that are both
ultimately highly rewarding period which saw her studying; admired and collected by many.
learning the intricate skills and finesse of carving, and continuing
to hone her development of woodturning working at a part-time www.thetinyturner.co.uk

45
 Mandarin duck
In an extract from his popular book, Carving
Japanese Netsuke for Beginners, Bob Jubb
carves this feathered friend in miniature

Carving Japanese Netsuke for Beginners by Robert Jubb,

GMC Publications, RRP £16.99, available online &
from all good bookshops

Things you will need

White upright wing feather and White eye flash in Tools
top of large upright wing feather imitation ivory or white • 3 ⁄16in (5mm) No.5 gouge
in imitation ivory or holly wood, such as holly • 1⁄4in (6mm) No.9 gouge
• 1⁄16in (1.5mm) dockyard V-tool
• 1⁄8in (3mm) No.1 f lat chisel
• 1⁄16in (1.5mm) No.1 f lat chisel
Orange large • 5⁄32in (4mm) No.9 gouge
upright wing • 3⁄64in (1mm) circular cutter
feather in • 1⁄16in (1.5mm) circular cutter
yew veneer • 5⁄64in (2mm) circular cutter
• 5⁄32in (4mm) tapered cutter
• 5⁄64in (2mm) parallel-sided cutter
• Medium-coarse files
• Needle files

Materials
• Cherry block, 6 x 13⁄8 x 13⁄8in
(150 x 35 x 35mm)
• Buffalo horn, ebony or African
blackwood to make dowels
• Imitation ivory, holly
or real ivory if you prefer
Dark green
• Yew or yew veneer
strip on the
• Coloured resin or paua shell
wing in dyed
• Sandpaper
veneer, coloured Black and white feathers from 100 to 400 grit
resin or paua shell carved in ebony or African • Micro-Mesh paper,
blackwood, together with 1800 to 12000 grit
imitation ivory or holly • Micro-Mesh stick with
4 grits on the same stick
• Wood glue
• Clear polish such
The beautiful and colourful Mandarin duck originally comes from the Far East, as clear shoe polish,
and was often carved into netsuke by the Japanese. Here the duck is carved in Liberon clear wax
cherry wood and inlaid with colourful feathers to illustrate the process of inlaying. or Renaissance wax

46
 1a 1b 1c 2

to cut from the head towards the first cut

to remove a small wedge of wood. At the
same time clean up the bottom of the cut by
the wing. Repeat this several times for both
sides until the tuft tapers up to the drawn
line as shown.
In real life the upright wing feathers do
3a 3b 4a not touch each other, but you can use some
artistic licence, as I did, and make them
touch at the top to add strength. Thin the
feathers at the side with a 3⁄16in (5mm) No.5
gouge, then pierce between the wings with
a 5⁄64in (2mm) cutter in the multi-tool so that
the cord can pass through (6). Enlarge this
hole using a 1⁄16in (1.5mm) chisel.
4b 5a 5b
Eye flash
The first piece of inlay is the eye f lash,
which needs to be drawn out on each side
of the head. Inlay it with imitation ivory
about 1⁄8in (3mm) thick to accommodate
the curve of the head. Cut a small piece of
imitation ivory and draw the eye f lash on
6a 6b 7 it in pencil, checking the dimensions
and shape (7).
Cut out the eye f lash with a 5⁄32in (4mm)
tapered cutter to create the rough shape of
the eye f lash. Recess the eye f lash on each
side of the head by marking the outline
of the eye f lash with a 3⁄16in (5mm) No.5
gouge, a 5⁄32in (4mm) No.9 gouge and a
1⁄16in (1.5mm) chisel (8). Mark the outline
8 9 10 by pressing the gouges and chisels into the
1a, 1b & 1c Views of both sides showing the cross-hatched areas to be removed 2 The wood in these wood to fit the outline of the eye f lash.
areas has now been removed 3a & 3b Netsuke sanded smooth 4a & 4b Main features redrawn on Use a 1⁄16in (1.5mm) No.1 chisel to cut
the netsuke 5a & 5b Beak and tuft behind the head carved 6a & 6b Enlarged front and back views of from the inside of the eye f lash towards
feathers 7 One eye flash cut out and the other one drawn ready for shaping 8 Recess removed for the the outline cuts and carefully remove the
eye-socket 9 Imitation ivory let in but not yet filed down 10 Eye flash filed down to the side of the head recess to about 3⁄64in (1mm) deep; repeat
the outlining process as necessary.
Start to fit the imitation ivory eye f lash
Initial steps continue this line from the front of the into the recess by offering it up, noting
Draw the outline onto a piece of cherry head over the top of the bill to meet the where it doesn’t fit, then filing bits off
wood and cross-hatch the areas to be similar line from the other side. Using with a needle file (9). Keep doing this
removed (1). Using a 3⁄16in (5mm) No.5 a 1⁄8in (3mm) No.1 chisel, round off the until the eye f lash fits well. Some of the
gouge, remove the hatched areas to give head into this cut and carve the side of ivory will stick out above the surface, but
the approximate shape of the Mandarin the beak, cutting in at the head end and this can be filed down (10).
duck (2). Sand the carving to get a smooth running the cut out towards the front Glue the ivory piece into the recess and
outline ready for drawing in the main of the bill. Repeat this for both sides of repeat the process for the other side of the
features again (3). The enlarged drawing the head and the bill until it looks right. head. This is a time-consuming process,
on the right shows the parts to be inlaid, Remember that the front of the head but as always, the aim is to make the piece
together with options for the materials tapers towards the beak and that the as good as possible.
that can be used. eyes are angled slightly forwards. Draw on the eye sockets and drill them
Next, carve the tuft at the back of out with a 5⁄64in (2mm) round burr cutter
The head the head which tapers into the middle of in the multi-tool. Drill straight into the
Redraw the main features, then start to the back between the two large upright imitation ivory but be careful not to
carve the beak and tuft at the back of the feathers each side of the wings (5). Use enlarge the hole (11).
head (4). Use a 1⁄4in (6mm) No.9 gouge to a 1⁄16in (1.5mm) No.1 chisel to push a cut
mark in the curve at the front lower part straight into the bottom part of the side Feathers
of the head and a 1⁄16in (1.5mm) V-tool to feather. Then use a 1⁄8in (3mm) No.1 chisel The next stage is to add colour to the

47
 wing feathers. On a Mandarin duck the
large back part is orange and the narrow
front part is white. Therefore, cut some yew,
which is an orange colour, to about 5⁄64in
(2mm) thick, then shape the large back part
and glue it on to the existing cherry surface
(12). When the glue is completely dry, thin
it down with a 3⁄16in (5mm) No.5 gouge.
11a 11b 12
For the front upright feather cut a thin
sliver of imitation ivory and roughly shape
it using a 5⁄32in (4mm) tapered cutter in the
multi-tool (13). File this down to the correct
shape with needle files, concentrating on
getting the back of the front feather to fit
closely against the yew feather, and glue
this in front of the yew feather (14). It will
stick out beyond its proper shape, but it
13 14 15
can be filed down when the glue has dried.
Repeat the process for the other wing.
Next, cut thin slivers of imitation ivory to
fit the top of the yew feathers. The important
thing is to make the shape match the curve
on top of the yew feather by offering it up
to see if it fits and filing it down until it does.
Do not worry about the top surface as the
final shaping can take place when the piece
has been glued on and is really dry (15).
16 17 18
To attain the green stripe at the back of
the wing, draw and cut a recess in the back
of the wing (16). Mark the lines by pressing
a 3⁄16in (5mm) No.5 gouge into the lines of
the curve and clearing it out with a 1⁄16in
(1.5mm) f lat chisel.

Safety note: 21
19 20
Paua shell dust is poisonous, so
always wear a mask when cutting it.

For the green stripe itself, cut paua shell

using a 5⁄64in (2mm) almost parallel-sided
cutter. Cut two smaller pieces from the
large shell and from each make a crescent-
shaped inlay (17). I strongly suggest that
you use a mask while cutting the paua 22 23 24
shell as it is poisonous when carved.
Offer the paua shell up to the recess and
file it down until it fits, then put glue in
the recess and place the shell in (18). As the
body curves inwards towards the base, a
small part of the shell may stick out. If it
does, push it until it breaks, so that it fits
the bottom part of the recess. Fill over the
joint when the glue has dried. This will be
masked by dark hard wax in the finishing
25 26 27a
process. Repeat the process for the other 11a & 11b Eye socket drawn on, then drilled 12 Yew upright wing feather glued in place
side of the duck. Finally, file off any sharp 13 Thin sliver of imitation ivory 14 Upright yew and imitation ivory feathers glued on
bits before going over it all with a Micro- 15 Sliver of ivory glued on top of yew feather 16 Recess cut below yew feather for green stripe 17 The
Mesh stick, starting at the coarse grade paua shell for the green feathers 18 Shaped paua shell offered up 19 The shell has now been glued, filed
and finishing off with the finest. You will and polished 20 One eye in and the dowel in the other eye ready for cutting off 21 The eye rounded
see the colour emerge from the shell (19). off and the ruff carved 22 Colourful Mandarin duck 23 Slices of ivory in the blackwood test piece
24 Shaped piece for each side of the chest 25 Outline of insert drawn out 26 Recess cut out for the
Eyes blackwood insert 27a & 27b Views of the first insert before filing down
Put the eyes in next. Start by cutting a
small piece of buffalo horn on the bandsaw, until it is fits well in the eye socket. Glue one to a dome shape with a f lat needle file (21).
then round off one end on the sanding eye in and cut it off about 5⁄64in (2mm) from When you are happy with the shape, polish
wheel to the approximate diameter of the the head with a 1⁄16in (1.5mm) cutter, before the eyes with a Micro-Mesh stick until
eye. Using a file, round the dowel with a repeating the process for the other eye (20). they take on a good shine; this will give
slight taper towards the head. Keep filing When the glue has fully dried, file the eyes the impression of sight to the eyes.

48
 In white pencil draw the general shape
of the group of feathers. Shape this
with a 5⁄32in (4mm) tapered cutter in the
multi-tool, making sure that you leave
a piece to hold on to. When you have the
right shape, saw it in half so you have the
same shape for each side of the chest (24).
On each side of the chest draw out the
27b 28 29 shape of the blackwood insert (25). Press
a 3⁄16in (5mm) No.5 gouge and a 1⁄16in
(1.5mm) f lat chisel into the outline then
clear out the wood within the outline to
create a recess (26). This has to go fairly
deep, so that the insert can absorb the
shape of the chest.
Separate the blackwood from its handle
before offering it up to the recess, filing
30 31 32 and trimming until it fits. It is best to do
this over an empty box, so that if you drop
it you will be able to find it again. If it
landed on my workshop f loor, I would
never find it again! Glue the piece in and
leave it for 24 hours before filing it down
(27). Do this carefully to ensure that you
do not scratch the adjacent surface.
When the insert has been filed down,
finish it off by going through the grades
of paper on a Micro-Mesh stick until it
33 34 really shines. Next cut the first slot for
the imitation ivory insert; this should
be about 1⁄8in (3mm) deep. File a piece of
imitation ivory until it fits the length and
width of the slot. Glue it in and leave it to
dry (28). Once it is dry, file it down to the
surface of the blackwood and repeat the
process (29). The next task is to draw and
carve the ruff, as well as the blackwood
35 36a 36b and ivory inlays on the other side of
the bird.
25 Outline of insert drawn out 26 Recess cut out for the blackwood
insert 27a & 27b Views of the first insert before filing down Definition
28 Imitation ivory in the first slot 29 The blackwood insert with At this point I decided that the beak on
the imitation ivory inlaid 30 Beak recarved with the nostrils put in my carving was too long and too wide.
31 The outline of the wings and feathers defined 32 The carving is If you find that this is the case, trim it
now separated from the central block 33 View of the rearmost wing down with a 3⁄16in (5mm) No.5 gouge
feathers drawn in 34 The rearmost wing feathers rounded off and before putting the nostrils in with a
the tail set in 35 Wing and tail feathers carved in 36a, 36b & 36c 1⁄16in (1.5mm) V-tool (30).
36c The finished Mandarin duck from various angles Define the outline of the upper and
lower parts ofthewingswitha 1⁄16in
Modifications (1.5mm) V-tool (31). Outline just a small
At this stage in the carving, a woodcarver the curve with a 1⁄16in (1.5mm) f lat chisel. number of feathers, as on the real bird
friend of mine who saw what I was carving, In pencil, draw the feather lines on and the wing feathers are hardly noticeable
gave me a fantastic photograph that he had carefully carve them in with a 1⁄16in (1.5mm) as individual feathers.
taken of a Mandarin duck (22). This was V-tool. In retrospect, putting in the black
quite different from the drawings I had and white inlay next to it first would have Separation
been working from and meant that I needed protected the ruff when putting in the inlay. Separate the duck from its central block,
to modify the carving slightly. It is quite To inlay the black and white feathers on so that you can draw the rearmost wing
acceptable to adapt your design as you each side of the chest, set African blackwood feathers and tail feathers before carving
progress through the carving to improve it. into the body of the duck, then inlay it with them (32).
It is not possible to reproduce all the white imitation ivory. Try this on a test piece Then draw in the outline of the wing
fantastic colours in a netsuke carving, first to avoid ruining the carving at this feathers, carve them using a 1⁄16in
but perhaps by bringing out the main late stage. Using a 3⁄64in (1mm) cutter, cut (1.5mm) V-tool and shape each wing.
features, it will be a close resemblance. two slots close together in the blackwood. One of the wings should overlap the
Thin down slices of imitation ivory using other slightly (33).
Ruff and chest feathers a sanding wheel and file them to fit in the The wings should now be outlined
The ruff of feathers each side of the head slots (23). and rounded off, with the tail feathers
is the next feature to carve. Draw the extent When you are satisfied cut a piece set back to just below the wing feathers.
of the ruff and run a 1⁄16in (1.5mm) V-tool of African blackwood about 2 x 1⁄4 x 1⁄4in Finally, round off the body below the tail
along the line. Clear away the outside of (50 x 6 x 6mm). and add your signature (34) (35) (36). ⬤

49
 Never stumped
We asked Jonathan Sherwood about
the challenges of chainsaw sculpting

Tell us about yourself?

I’m Jonathan Sherwood, based in Harrogate North Yorkshire.
I first tried carving when I was 16 and have now been carving
for about 14 years. I am part time on the side of my day job.
I’m very fortunate that I have managed to turn my creative
streak to good uses and make things that people appreciate and
enjoy. I have always enjoyed working with my hands, whether
that be art or making something functional. I enjoy woodwork in
particular because it is a wonderful material to work with, but I
have ambitions to try out some other materials for my work too.

Is most of your work commissioned,

or do you also design your own pieces?
Do clients often provide specific timber,
i.e. a loved tree that’s been felled or tree
stump in situ?
Almost all of my work is commissions. Very occasionally, if
I am attending an event, I will carve some stock items to sell.
About 80% of my work is ‘stump jobs’, which is where a tree
has had to be felled and, rather than obliterating the largest,
heaviest section of the tree it can be given a new life as a
bespoke carving. The other 20% are freestanding where I
source the timber from local tree surgeons to create the piece.

50
 I design my pieces, but generally they follow the client’s brief –
narrowing down the brief is often one of the hardest parts. I
often get asked ‘what do you think this tree stump lends itself
to?’, but really the client needs to give some steer on their own
preferences, such as a functional piece, native wildlife, farm
animals, mythology etc.

What are your inspirations for a design?

Nature really. Most of my work is figurative and I personally
can find it a struggle to tear away from the literal positioning
of things. I find composite/abstract pieces a challenge to
transition between different elements.
Generally, I prefer to make one larger piece, such as a
bird of prey or other animal. I find there is an element of scale
that adds to the overall impact of the piece and seeing features
such as beaks, claws, talons etc. blown up in scale makes them
that bit more impressive.
If the log is sufficiently large, then a wildlife scene with
predator and prey is often a go-to, although clients often
prefer to steer away from anything too sinister.

How do you plan a piece?

(i.e. what considerations do you need to
make for the wood type, shape or natural
flaws? Do you make sketches either for
your customer, or just for yourself?)
By and large I will design as I go and incorporate
many design factors, such as these:

• The predominant viewing angle (it generally can’t

be moved and repositioned)
• Strength of the wood and direction of the grain
• Avoiding creating areas where water can pool
• Working around areas of rot and bark inclusions
• Trying to keep the pith of the log in a place where it allows
for the possibility that the wood may crack in a sympathetic
direction (not always possible)
• If it is a bench, then the ergonomics of the piece also
become important.
PHOTOGRAPHS BY JONATHAN SHERWOOD

• If the client requests it then I will prepare a sketch to

help them visualise, but I don’t profess to be an artist
with pencil and paper – the sketches are fairly functional.

How do you translate your plan

on to the timber?
I may make a couple of measurements and crayon marks
for things like a bench seat height or just to check there is
enough space before making a large cut to remove a big offcut.
But otherwise, I very much work by eye and refine as I go.
Depending on my familiarity with the subject I will make
reference to photos.

What other tools do you use for

the finer details & do you have any
tips about treating or finishing the
completed sculpture?
I get about 90% of the work done with chainsaws and then, for
finishing touches, I use angle grinder, die grinder, pencil sander,
f lap sander, wire brush, blow torch, Dremel tools and possibly
a tiny amount of hand chisel.
I then generally coat my carvings with Danish oil and
recommend the client does so every six months. There is a bit
of a movement on the chainsaw carving scene towards the use
of airbrush techniques, and they have been used to great effect.
Experimenting with colour is something that I hope to make
time for in the future.

www.sherwoodcarving.co.uk
www.instagram.com/sherwoodcarving

51
 Flower and leaf panel
Cynthia Rogers carves a decorative floral panel in jelutong

I used 12mm-thick jelutong for this

carving and its backing. I find jelutong
to be soft and easy to work, without being
so brittle that it crumbles. It takes stain
well, and it’s not hard to obtain a good
finish. Notice the tabs drawn on the design.
Be sure to include these when tracing and
sawing, as the whole system depends on
them. They are used to hold the timber
while it is being carved, and they are
not removed until the project is
almost completed.

Things you will need

Timber
• For the carving: jelutong,
203 x 229 x 12mm
• For the backing: jelutong,
254mm diameter, 12mm thick

Tools & materials

Gouges:
• 3/5, 5/3, 8/7, 9/10, • Paintbrush
5F/14 fishtail • Steel wool
• Modelling clay • Bandsaw
• Carving knife or handsaw
• V-tool • Bastard file
• 3/5 chisel • Drill
• Fishtail chisel • Cedar stain TAB 2
• Skewer • Solvent
• Teaspoon • Danish oil
• Sandpaper • Flap hanger
• Dustmask • Wood glue
2
4
3 TAB 3

To make this
drawing full size,
enlarge on a
photocopier
to 112%
GRAIN DIRECTION

5
7

1
6

TAB 1 TAB 4
1

52
 between leaves 2 and 3. Clay model: lower
the height of the clay as for the first leaf,
then lower the left side (next to f lower 4) to
give it a slope. Remove a V from the centre.
Timber carving: reduce the thickness and
lower the left side as for the model, using
the fishtail, and cut a V out of the centre.
7 Leaf 3
PHOTOGRAPHS BY CYNTHIA ROGERS

3 Clay model: lower the rear (wide) end

of the leaf and make a central V-cut.
Timber carving: with 5/3 and 3/5 gouges,
cut between 3 and 4, then 3 and 5; turn the
chisel as needed to get into tight corners.
Do not cut leaf 3 where it lies on the tab;
leave this area and lower only the rest of
the leaf to make it slope down towards
2 8 f lower 4. Cut the central V in leaf 3 in the
same manner as before, using either the
Preparation V-tool or the fishtail.
Make two copies of the design. Trace the
design on to your chosen timber (jelutong Flower 4
in my case), including the tabs. Take care This is a good time to discuss the shape
to position the design so that the grain is of the f lowers that are about to be carved.
running in the required direction; watch They are an ʻopenʼ type similar to pansy,
out for any faults in the plank. Ensure hibiscus and brunfelsia, and allow a lot of
that the waste timber around the design is leeway in interpretation. It is helpful to
marked WXYZ so that test cuts for grain have a mental picture of similar f lowers to
direction can be made. To do this, mark a work from – or it may be possible to pick
W in the waste area at the top of the design, one from the garden.
an X in the waste area on the right side,
3 a Y at the bottom and a Z on the left. 4 Use the 5/3 and 3/5 gouges to separate 4
Drill out the tight corners and cut out the from 5 and 7 by stab-cutting downwards.
pattern ready for working, test the grain Cut a trench 6mm deep in the tab where it
direction and mark this with arrows on the touches f lower 4, and stab-cut the edges of
pattern. Place the spare pattern, with grain 4 to conform to the contour. Using clay and
direction arrows also marked on it, where timber: lower the entire outer edge of the
it can be seen while working. Number the f lower to make it slope down to the tab.
leaves and f lowers as in the pattern.
5 Clay model: use the knife to bevel off
Leaf 1 all the edges, and then use a skewer to
Making a life-size model of the leaf from draw the centre of the f lower. Timber
clay will show you how each carving action carving: use the fishtail to chamfer all the
will affect the contour of the timber leaf. edges of the f lower, and mark the centre
4 Practising each cut on the clay model with a pencil.
makes it clear where the cuts will be needed
on the wood, and how deep to make them 6 Clay model: use a teaspoon to gouge out
to get the effect required. Make the model the centre, and a kebab stick to mark in the
of leaf 1 by f lattening the clay between petals. Timber carving: with the 9/10 gouge,
boards and then cutting round the profile cut towards the middle, starting 12mm
with a knife. Working with timber and from the centre and working clockwise.
using the 5/3 and 3/5 gouges, stab-cut Soften the edges of the hole with the
downwards between elements 1 and 6, fishtail. Use the carving knife to cut petal
1 and 5, 1 and 7. lines, angling the blade only slightly so
that we will have a small undercut when
5 1 Clay model: as leaf 1 is the lowest of the petals are shaped.
the group, it will need to have its thickness
reduced so that it lies below the f lowers. 7 Clay model: decide which edge of the
Remove enough clay to reduce the petal is to be higher than its neighbour;
thickness of the model by 6mm over its removing clay from only one side creates
entire surface. Cut a V out of the centreline ʻliftʼ. Timber carving: cut towards the
of the clay and lower both of the ends. petal line with the 3/5 gouge to separate
Timber carving: use the fishtail to lower the edges. Alternate the levels: one side
the level of the wood; it does not have to up, and one down.
be f lat. Cut the centreline using the knife,
lower both ends of the leaf with the fishtail Flower 5
and cut out a V each side of the centreline. 8 Clay model: draw in the centre and lower
the right side of the f lower. Timber carving:
6 Leaf 2 stab-cut between 5 and 6, then use the
2 Turn the design around and stab-cut fishtail to lower the right side.

53
 9 Clay model: divide the width of the
f lower into thirds, then bevel all around
the outside of the f lower. Timber carving:
mark in the same way, using the fishtail
to remove the outer edges.

10 Clay model: use a spoon to gouge

out the centre, then draw petals and
centre with the kebab skewer. Lower the
clay at the petal edges as for the previous
f lower, to show difference in levels. Use a
teaspoon handle to scoop out dips in the
9 14
outer petals. Timber carving: use the 9/10
and the 8/7 to gouge out the central area,
working in the same manner as with the
first f lower. Mark the petals first with a
pencil, then cut them in with the carving
knife. Using the 3/5, cut towards the petal
edges, alternating the levels as with the
previous f lower. Use the 8/7 gouge to cut
grooves in the outer edges of the petals;
the pencil in the photograph is pointing
to these.

Flower 6
11 Stab-cut the outer edge of the design,
then cut a trench in the tab down to half
the thickness of the timber.
10 15

12 Clay model: make a mark one third

of the way across the f lower, and use the
knife to cut away the clay on the left side.
Timber carving: Mark in the same place
as on the clay, and use the fishtail to lower
from the pencil mark almost to the depth
of the cut in the trench. The cut should be
angled down towards the trench, which
will tip the f lower in that direction.

13 Clay model: use the spoon to gouge

out the centre, then draw in the petal
lines with the skewer. Timber carving:
11 16
using either the 8/7 or the 9/10, gouge
out the central area as with the other
f lowers. Use the knife to cut in the petal
lines, then redraw the centre and cut.

14 Clay model: separate the petals by

scraping clay from one side, then use the
spoon to gouge dips in the outer edges of
the f lower. Timber carving: use the 3/5 to
lower one side of the petal as before, then
the 8/7 to gouge dips in the outer edges
(marked in pencil) to create ripples.
12 17

Flower 7
15 Timber carving: stab-cut along the
outline where the tab touches, then cut
a trench in the tab to half the thickness of
the timber. Clay model: use the knife to
remove a slice from left edge of the model.
Timber carving: use the fishtail to remove
wood from the corresponding area.

16 Clay model: mark the centre, then

remove a slice of clay from the right side of
the central mark almost down to the board
(the wedge removed can be seen at the top
of the photograph). Timber carving: pencil
13 18
in the centre, then use the fishtail to lower

54
 one side of the petal with the 3/5 as before
to create separation, then use the 8/7 gouge
to create dips in the outer petals. Recut
the centre.

Sanding and undercutting

19 Using the 3/5 chisel, undercut the
petals of f lowers 6 and 7 where they overlap
the other f lowers and leaves, then work
through the grades of sandpaper until a
fine finish has been achieved. (It’s advisable
19 to wear a dustmask while sanding.)
24
20 Undercut in the same manner where
f lower 6 overhangs f lower 5, and sand
all over.

21 Undercut where f lowers 7 and 5

overhang number 4, and sand to finish.
Carefully stab-cut along leaf 3 where it
lies on the tab, and lower the tab to half
its thickness. Undercut where f lower 5
overhangs, and sand all over.

22 Take care when undercutting between

leaves 2 and 3 so as not to lose the fine
serrated edges of leaf 3; sand all.
20
25 23 Undercut where 5, 6 and 7 overhang
leaf 1, and sand all. Add veins to all three
leaves using the V-tool or carving knife,
then sand lightly with 400 grit. Wet the
timber by brushing the carved surfaces
with hot tap water, allow to dry, then rub
with steel wool and remove the dust.

Undercutting the edges

24 Lightly pencil on the back the area to
be undercut. Make sure that the bridges
between the f lowers and leaves are strong
enough to hold the design together. Before
21 cutting any material, pay attention to what
has happened to the front of the wood. If
26 the f lower or leaf on the front is lying close
to the backing (as f lower 5 is), then the
undercut area will be small. The size and
shape of the undercut must be relevant to
the shape of the front of the carving.

25 Clamp the design to the work bench

and, using whichever gouge or chisel suits
the undercut, carve the area between the
tabs. Work only a small section at a time,
22 then sand. Do not cut the tabs away yet.

27 26 Without removing the tabs, work

around the entire outer edge, turning the
design for easy access as required. Sand
the entire right side to within 3mm of the each section as it is completed.
backing board.
27 Using thumb and finger, feel for the
17 Clay model: use the spoon to scoop thickest parts of the design and mark
out the centre. Mark the petal lines. Timber three places (the spacing between them
carving: use either of the gouges to scoop need not be exactly equal) for the dowels.
out the centre. Cut the petal lines with Place tape on the drill for a depth gauge,
the knife. and drill each hole for the dowels at the
marked spots, as for the first project.
18 Clay model: cut one side of the petal Clamping firmly as shown, carefully
to lower it, scoop out the outer petals and and using small cuts remove the tab
23 recut the centre. Timber carving: lower from leaf 3, clean up the edge and sand.

55
 28 Move across and do the same to
the tab at f lower 6. Turn the design,
and carefully remove part of the tabs
on f lowers 7 and 4, but do not cut
either of these right through. Work
slowly between these two tabs, cutting
small slivers of each one in turn until
they are free. Tidy the edges and sand.
Wet all the undercuts; allow them
to dry, then sand.

The backing board 32

Plane and sand the jelutong for the
backing board. The size of the circle
for the backing is 254mm. This can be
28
marked with a compass or protractor,
or by using a dinner plate or a large tin
– anything to give the size required.
If a bandsaw is available, cut the timber
carefully, staying outside the marked
line. A circle can be cut effectively
using a handsaw by making lots of small
segmented cuts around the outside;
the edges are then straightened up
with the bastard file.

29 Place a piece of leather or

Cardboard and a small block of
waste under the clamp to protect
29
the surface from being damaged or
crushed, moving it as required as
33
you work. Using the bastard file and
keeping it upright to the timber,
clean off the saw marks all around
the edge of the circle.

30 Clearly mark 3mm from the back

edge and 12mm from the edge of the top
face: this is the section to be removed.

31 Using the fishtail chisel, bevel the 30

edge. Work small sections at a time,
moving the timber and the clamp as
you work your way around the circle.

32 Use the bastard file to level the

surface of the angle, then sand.

33 The carving is laid on the backing. 34

Because of its paleness I decided to
stain the whole project using cedar stain.
Apply two coats of stain to the front and
back, then soften the effect by rubbing
over with a clean cotton cloth dipped
in solvent. When the stain has dried,
31
paint on two coats of Danish oil, rub
back lightly with steel wool, then apply 35 Place masking tape in position
another coat of oil. Allow the oil to and lay the carving face up in the
harden. Fix a f lap hanger 38mm from required position on the backing. Press
the top of the backing board. Place the the tape firmly to the backing to hold the
board face down on cloth for this template, and gently remove the carving,
operation, taking care that the grain is leaving the template behind. The guide
vertical when the board hangs straight. for the dowel holes can be seen clearly in
the template. Drill them as before, then
Fixing the carving cut three dowels from a skewer. Glue the
to the backing carving to the backing, checking that the
34 Three dowel holes have already glue has not oozed out from behind the
been made in the carving. Make design. Cover with a cloth and place a
a template and locate the holes. suitable weight on it for 24 hours. ⬤
35

56
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 BDWCA news & events
The Festival of Bird Art 2022

PHOTOGRAPHS © FRANCES MILBURN FOR THE BDWCA

Our annual show and competition – the Festival
of Bird Art – was held on the second full weekend
in September, this year 10 and 11 September 2022,
at its normal venue, the Agricultural Centre in
Bakewell, Derbyshire.
Unfortunately, carver numbers and entries were
down on last year, but the quality of those entries was
high. The top award, that of the British Bird Carving
Champion, went to Paul Dalby with his carving of a
Surf Scoter. An advanced carver, who has consistently
won at this level, this was his first time winning this
award – congratulations Paul.
Runner-up to the British Champion, for the second
year running, was Paul Tully with his carving of a
Dotterel. Paul, who had been working his way up
the classes, winning Best Novice in 2018 and Best
Intermediate in 2019 and 2021, was competing for
the first time at Advanced level. He also won Best
Interpretive Wood Sculptures – Painted, for his
carving of Three Gannets. Will he be aiming for the
British Championship next year?
This year’s Best Novice trophy was awarded to
Billy Turkington from Northern Ireland for his Magpie.
Billy hadn’t competed for some years but was a very
welcome returnee.
Stephen Rose, who competed for the first time last
year and won Best Novice, was this year competing at
Intermediate, and took the award for Best Intermediate
for his carving of a Little Owl on Falling Branch. With Dotterel by Paul Tully, Runner-up to the British Champion
his other winning entries this means that he will be
carving at Advanced level next year, so we will be very
interested to see what he enters.
Sadly, we only had one youth entry this year,
a carving of a Costa’s Hummingbird by Chloe Smyth
– she won silver last year – but the quality of the
carving was such that she won gold and therefore
was awarded the Best Youth trophy.
One special award is that of Competitor’s Choice,
and this was awarded to the winner of the Best
Songbird trophy, Maggie Port, for her carving of
a Wren on Ivy.
More details of this year’s winners will be in
the next issue, but in the meantime pictures of
all the carvings entered in this year’s show are
on the Bakewell Show page of our website –
www.bdwca.org.uk – as well as pictures
from the previous few years.

For further information...

...on the BDWCA, as well as membership details,
visit www.bdwca.org.uk. Membership includes
three issues of the full-colour magazine, Wingspan.

Or contact our new membership secretary:

Mrs Margaret Port, Dairy Cottage, Knellers Lane,
Ashurst, Totton, Hampshire, SO40 7EB, Tel: 02380 869090
Alternatively, please email: pam.wilson@bdwca.org.uk Little Owl on Falling Branch by Stephen Rose, Best Intermediate

58
Three Gannets, approx. 50% lifesize, by Paul Tully, Costa’s Hummingbird by Chloe Smyth, Wren on Ivy by Maggie Port, Best Songbird and
Best Interpretive Wood Sculpture – Painted Best Youth Competitor’s Choice

Surf Scoter by Paul Dalby, British Bird Carving Champion Magpie by Billy Turkington, Best Novice

59
 Adze good adze it gets
In the second part of his series, Nic Westermann adjusts the handles on three adzes

I wrote last time about the ideal handle-to-edge orientation for tweaking the edge angle to finally perfect this geometry.
an adze, how to test and evaluate this orientation. This article As the deadline was pressing, I cast about on social media and
will cover one approach to optimising this vital angle – moving a few weeks later I had three adzes posted to me that all needed
the handle to better suit the edge – in the next I will cover adjustment. The first job was to try them out and decide if my

60
 perception of what needed doing lined
up with the owners’. In no particular
order, we have a fairly standard bowl adze
(A) which is a bit too closed – it tends to
bounce off the bevel. Second, an adze
that’s not a common design, a
largely internally bevel bowl adze (B) that
is way too open and digs in rather than
cuts in a smooth arc. Last, we have a
beautiful elbow adze that was made with
the intention to use it for shaping canoe
PHOTOGRAPHS BY NIC WESTERMANN

paddles rather than the inside of bowls

– so perhaps needs a different handle-to-
edge angle than the first two. However,
when this was tested on a f lat piece of
wood it still tended to bounce off the bevel,
suggesting it was too closed.
The first job was to remove the heads
– simple with the elbow adze as the spruce
root lashing that held it in place could be
undone very easily.
Drifting out a handle The other two needed the handle
pressing out of the heads. Although
handles can be forced with a big hammer
and a drift (I had an appropriately sized
steel one, but you can easily fashion one
from some hardwood), it is much easier
and less likely to damage the handle if it
can be loosened first.
I put both adzes in the oven set to 50°C.
This was enough to dry and shrink the
wood without burning it or damaging it
– at these temperatures the steel head is
not affected either. The great thing about
this method is that if you work quickly to
refit the head, the handle will take on a
bit of moisture from the air over the
next week or so and swell, increasing the
security of the joint.
A couple of hours loosened both heads,
they both needed drifting out, but it was
an easy operation.
Once all three had been disassembled
it was a case of double checking which way
I wanted to move the handle in relation to
the head (edge) – it is surprisingly easy to
get this wrong.
Adzes disassembled The elbow adze needed to be opened up,
increasing the angle between the handle
and edge to make it cut more aggressively.
The larger bowl adze needed the same
change in geometry. The smaller one with
the straight handle needed to move the
other way, bringing the handle closer to
the edge – it needed the biggest change
in angle. It wasn’t really going to be
possible to move it enough to get perfect
alignment, however it makes it more viable
to do the final adjustment by altering the
edge angle – the short inside bevel and
f lat outer bevel form not being optimal
for bowl carving anyway.
I drew on with a marker how I was
going to make these changes, I decided
it was better to cut down the straight
handle as it gave me more leeway to
make the change in angle needed.

Handle marked for modification (A) Handle marked for modification (B)

61
 For the elbow adze I felt it only needed a few degrees
change in angle. My best guess was marked on and
the handle cut down to ref lect this, the spruce root
lashing was soaked in hot water for about an hour to
soften it, and it was then rewrapped – a fairly simple
process. Hopefully it will tighten further as it dries.
I was especially pleased with this. It was a good guess
at angle, and the edge only need sharpening, I don’t
think any further change in geometry is needed.
The straight-handled adze was marked as shown
and the a tenon for the head marked on. As this was
just an old hammer handle I did fit this quite brutally,
it was hammered on and from the marks it left it was
clear where I needed to remove wood to allow it to
progress up the handle.
It will eventually need some wedges in, but I will wait
until after the next article when I have altered the bevel
before driving them in – it is so much easier to regrind
the head without the handle permanently attached.
Elbow adze handle marked for modification For the adze with the curved handle, I was able to
move the head about 15mm up the handle, taking
advantage of the thicker cross section to encompass the
change in angle needed to make the adze more open.
I wanted to reuse the wedge and it seemed to be glued
in place, but I was able to free it with a chisel, clamping
the handle in the vice to reduce the chance of it splitting
as the chisel pried the slot open.
As I moved the head up the handle, I had to deepen
the slot so the wedge could be refitted to the correct
depth (excuse the rusty saw).
The head was fitted, and the wedge left proud. This
means it can be easily pulled out to remove the handle.
Eventually it will be cut off f lush when I am happy
with the final edge-to-handle orientation.

Handle being fitted to the rectangular eye

Wedges will be needed eventually Releasing the wedge

62
 Wedge left proud to allow easy disassembly

Deepening the slit Handle reshaped

Elbow adze initial orientation

Elbow adze modified orientation

In use I found the handle a bit small and the owner did
as well, so I decided to put a wrap of suede on to bulk it
out a bit. I also subtly reshaped the handle so it could
rotate in the handle a bit easier when swung. I think I
will be writing an article on handles in the future so
expect to be covering this in more detail at a later date.
This handle-to-edge orientation was better, but still
not quite right; I will make some final adjustments
when I resharpen and subtly reshape the bevel form
in the next issue.
Handle bulked out with suede

63
 Adze (A) initial orientation Adze (A) modified orientation

Adze (B) initial orientation Adze (B) handle shortened and modified orientation

So, as you can see from the before and after pictures, I moved them all in the correct direction, which is always a relief. Hopefully,
they moved enough that the perfect orientation is possible by tweaking the edge geometry. Tune in next time to see how it goes.

THE SHARPENING CLINIC IS OPEN

As the name suggests, I would like to help carvers with sharpening back to you at my expense. Turnaround will be up to a month
problems – this will allow me to focus my articles on tools that are as I will need to get the tool well before the deadline to be certain
relevant to you, the readership. I can fulfil my obligation to WC of turning in a quality article each
I am looking for readers to send a brief email with a description issue. If not selected, please do not send me your tools. I don’t have
of the tool, the sharpening equipment they are using and problems time to sharpen them in my day-to-day business, and I don’t have
they are having. Please do not send images at this stage as it clogs the budget to return them to you if you do. Also, due to the time
up my email system far too quickly. scales involved with overseas post, currently this is only open to
I will try to answer all emails but will only be selecting one tool carvers in the UK.
per article. You would then send the tool to me at your expense, If you are interested, and I hope you are, then please email me at
I will sharpen it and make it the subject of the article and send it nic.westermann@btconnect.com

HEWN & HONE

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respected carvers and tool makers to bring you blades and sharpening supplies. All our designs and
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64
 WILLSLE Y
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• Visi ur, India
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• P r o f il D av i s
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 Community news
A collection of letters and news from the woodcarving community

Jack Jordan’s floral festoons

I live in New Zealand and am a member of the Canterbury Guild
of Woodworkers. We have a subgroup of carvers who meet once
a month on a Saturday and do our carving. There is a lot of chat,
problem solving and tea drinking done, but a good time is had
by all. I would like to tell you about one of our members in
particular, Jack Jordan, who is 90 years of age and still carving.
He has carved a number of Grinling Gibbons-style festoons, is a
prolific woodworker and very skilled. He has been a member of the
Guild of Woodworkers for 55 years and in the 1970s he attended a
carving workshop where the tutor was Ian Norbury. This set Jack
alight and he started woodcarving in earnest after that.

I have had some photos of his work taken and Jack has given his
permission for them to be published, including a photo of Jack and
a falcon, the falcon sitting on the handler’s gloved hand. All of the
photos were taken by my son, Nelson Gardiner.

Regards, Peter Gardiner, Christchurch 8022, New Zealand

Mythical magic
I’ve been an avid woodcarver for over 20 years now, originally
carving in relief but working mainly with greenwood these days,
carving spoons. I’ve always been interested in mythology and
dragons in particular, so recently I decided to try carving some
simple dragons.
These are hand carved from a mix of native species and
either left natural or painted to highlight the toolmarks.
They are relatively simple to carve and great fun. Dave Atkin

66
‘Intermezzo’
Back in February, I referenced two WC articles on Grinling Gibbons for a bit of
advice on a carving I was about to attempt. My intention was to create a composite
piece incorporating the various techniques that I have used over the past 20 years,
and including some my favourite subjects (e.g. Venice, red squirrels, music and
f lowers). If completed in time, this was intended for entering in a local exhibition
by The Gloucestershire Society of Artists.
I’m happy to say that I did succeed after 320 hours of work over eight months. The
result was shown in a local gallery for two weeks and received numerous favourable
comments. Here it is, together with with close-up detail of some of the parts.

Best wishes, Ted Hodgkins

Aces high
In the village of Horton, Swansea,
a small group of us meet occasionally
for a poker night. One of our number,
Vernon Griffiths, unfortunately passed
away and I created this trophy to be
retained by the winner after each
meeting (no actual money changes
hands). Someone must have had an
extra ace up their sleeve?
As an aside note prior to commencing
play, we raise our glasses in a toast to
Vernon, who was a lovely man and
is sadly missed.

From a much-inspired reader of

your magazine over many years,
Eaton Tarrant, Rhossili,
Swansea, South Wales

67
 Woodcarving event in Westby, WI
‘We are back.’ Those words have been heard from many
woodcarving shows in the past two years and the event
in Westby, WI is no exception. After cancelling in 2020,
delaying in 2021 and moving cautiously with the 2022
event, chair John Sutton is making changes to Carve In
@ the Bekkum that will accommodate the growth and
interest expressed since the event started in 2017. First,
John and the committee have renamed the event as
Karve In, to ref lect the Norwegian heritage of the
community. Second, the event is moving from the
library to the Westby Elementary School so that more
than twice the space will be available.
Karve In 7 is expected to have more than 60 carvers
and several hundred attendees. Both talented hobbyists
and professional woodcarvers will show their chip
carving, caricatures, f lat plane carvings, relief pieces,
bark carvings, carved spoons and more on Saturday,
22 April, 2023. Some of the carvers have authored pattern
books and how-to books that will be one sale. Tables can
be reserved at no charge to the carvers. John is committed
to bringing many good carvers to the show and works
hard to keep their expenses to a minimum. John and
his committee get sponsorships from local businesses,
donations and help from volunteers to bring about
the event.
Because the space will be so much larger this year,
carvers will be given more table area and tables will be
further apart that at previous events. This will allow for
a more comfortable space to spend the day. Every table
will have plenty of room for people to stand and watch
each carver and to shop the carvings that are displayed.
Carvers have always been able to spend time with other
carvers and talk with people who come to the event.
The larger space will be much more comfortable for
John Sutton everyone to have a relaxing day with more carvers
and guests alike.
The 2023 event will also offer a children’s section
where beginner classes will be offered. Mini classes for
intermediate and experienced carvers will also be given.
John has been carving for many years and knows that
carvers always enjoy learning techniques and tips from
other carvers. The committee expects that the mini
classes will be very popular.
A popular portion of the event is the Featured Carver.
John introduced John Overby at the third annual event
in 2019. Becky Lusk and April Millard Bird have
also been Featured Carvers. In 2023, Ken Larson will be
the Featured Carver when he brings his special love of
carving to the event. Ken has been carving seriously for the
past 20 years. He does relief, caricature, spoon and chip
carving. Though his favourite is chip carving, he combines
his love of historical re-enacting with spoon carving to
show how kitchen utensils were made in years gone by.
Ken has also been involved in teaching woodcarving
with 4-H classes.
Ken belongs to the La Crosse, WI Coulee Region
Wood Carvers group and shared that the support given
at the club meetings is invaluable. Ken said he thinks
clubs offer exposure to carvers of many levels of talent
and experience and attending meetings is a great way
to learn.
Karve In 7 will be held on Saturday, 22 April, 2023
from 10am to 4pm. The Westby Elementary School is
located at 122 Nelson Street in Westby, WI 54667.
Lunch will be available on site and prizes for carvers will
be raff led at 3pm. If you would like more information
about how you can reserve a table or give a mini class,
you can contact John Sutton at 608-634-4396 or email
Ken Larson lbarnfarms@gmail.com.

68
 PHOTO BY JAMIE ROSS
PHOTO BY JAMIE ROSS

Sam Bowsher claimed top honours at Carve Carrbridge 2022 Sam has followed in his father Pete’s footsteps in winning the competition
with his Utterly Otterly creation.
BSW-sponsored event raises
industry profile as family traditions mill manager at BSW Timber, judged the event and presented
continue at Carve Carrbridge awards to the winners at the Cairngorms National Park.
Sam Bowsher followed in his father’s footsteps by becoming He said: ‘Having been a regular supporter of the Scottish
a multiple winner of Carve Carrbridge, the BSW-sponsored Chainsaw Carving Championships, I was honoured and
Scottish Open Chainsaw Carving Competition. privileged to be part of the judging panel and present the
Sam has been attending the competition since the age of six prizes for the 2022 event. The weather was mercifully dry and
and his Utterly Otterly chainsaw-crafted creation saw him retain once again the standard of the carving was just outstanding.
the title he won virtually in 2020. This makes it 10 titles for the ‘Every year that I’ve been involved in judging this competition,
Bowsher family, with Sam’s dad, Pete Bowsher, an area timber we all seem to find it harder and harder to separate the top
buyer at Tilhill – a member of BSW Group – having previously contenders as the standard just keeps on improving. This year
won eight gold and two silver medals. Sam Bowsher’s Utterly Otterly was a classic example of how
In all the years Carve Carrbridge has been held, Pete has the standard of carving just seems to be getting better.’
carved at every one, except for when he missed out due to a Dave said that seeing the evolution of the designs through
detached retina. Pete said: ‘I would like to think that I have the four-hour crafting window is fantastic to watch and he
been a part of the event’s growth, from six carvers on the highlighted the importance of the event in raising the industry’s
football pitch to a very highly-respected, world-class chainsaw profile. He added: ‘Aside from the creative reward from
carving event, which attracts carvers from around the world. supporting this great event, it’s also great to raise the awareness
‘The four-hour chainsaw-only competition attracts about of the forest industry and how much it contributes to our local
4000 spectators during the day, and I’m still amazed at communities in the North Highlands.
what can be accomplished in such a short amount of time. ‘As a timber professional for over 35 years it is great to
‘Carve Carrbridge would not be possible without the help demonstrate that, as an industry, we provide jobs that build
and support of volunteers and sponsors, and BSW’s supply of communities and sustainable futures, whether that is in the
suitable carving logs is essential and very much appreciated.’ forest, the sawmill, the haulage sector or indeed the supply
Sam explained: ‘I now find the event even better being able end to customers and builders.’
to compete, but winning this year really is the icing on the cake.’
BSW Group’s sponsorship came through the donation of Sitka To find out more about BSW Group,
spruce logs from its Fort William Sawmill, while Dave Mills, visit www.thebswgroup.co.uk

69
 Dave Colvin
remembered
Nelwe Woodcarvers are
sorry to announce the
passing of Dave Colvin
on 16 October, 2022.
Dave was one of the
founding members
of Nelwe and a constant
visitor to Essex
Woodcarvers meetings
at Mountnessing.
Dave was known at
the early demonstrations
that he attended as ‘the
fairy man’ because of the
number of relief carvings
he did of the fruit fairies.
At later demonstrations
he made lots of small
animals or birds to give
to the children who
visited the stand. Also,
he decorated his hat with
wooden, carved insects.
We will all miss Dave’s
help and comments at our
carving days. We send our
sorrow to Dave’s family.

Regards, Martin Howells

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sharpening and is capable of sharpening all common chain types and sizes. It can be
mounted on to workbenches and includes safety guard and grinding disc.

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70
 Flexcut Carvin’ Jack 2.0
Flexcut has introduced a new
generation of multi-tools. The
Flexcut Carvin’ Jack 2.0. Carvin’
Jack is the first folding multi-tool
designed specifically for the needs
of woodcarvers. At 4.4oz and a
closed length of 41/4in, this jackknife
features six blade profiles. It’s
the ultimate in portability, so you
can carve whenever you want and
wherever you go. The new 2.0
Right-handed Carvin’ Jack 2.0 JKN291 - $179.95 version has a cross-etched,
aerospace aluminium handle. It
has also replaced the chisel blade
with a pelican knife to provide
greater versatility. Each Carvin’
Jack includes a sheath and a
custom SlipStrop for maintaining
the sharpest possible edge.
Good to know: The Carvin’ Jack
should be chosen by how you carve,
not necessarily if you are right
or left-handed. Choose a right-
handed knife if you’re right-handed
and carve with the blade towards
yourself. If you carve away from
yourself choose a left-handed
knife. Left-handers should
Left-handed Carvin’ Jack 2.0 JKNL291 - $179.95 choose the inverse.
Other multi-tools in the range
include the Spoon Carvin’ Jack 2.0.
This convenient multi-tool makes it
easy to handcraft spoons from every
kind of wood stock. The 2.0 version
has been redesigned for greater
functionality. It now features four
profiles – a variable radius hook
knife, hook knife, gouge scorp,
and a Pelican knife.
Like all of the knives in the
Carvin’ Jack series, the Spoon
Carvin’ Jack fits neatly in your
pocket, so you can carve wherever
you go. The handle is made of
rugged aerospace-grade aluminium
with an ergonomic design that
contours to fit the palm of your
Spoon Carvin’ Jack 2.0 JKN296 -$139.95
hand. There is also deep cross-
hatching on the handle to keep the
knife from slipping while carving.
Check out the Pocket Jack 2.0
for Carvin’. This updated multi-
tool features a new cross-etched,
aerospace aluminium handle,
giving you greater carving control.
The Pocket Jack is a streamlined
version of the Carvin’ Jack.
It includes a detail knife, straight
gouge, gouge scorp and a V-scorp.
It’s rugged and capable, but just
weighs 3.9oz with a closed length
of 41/4in.

For more details and other

products in the range, go to
www.f lexcut.com/
Pocket Jack 2.0 JKN289 - $104.95

71
 Left: Justin Bailey Centre: Corey Lancaster’s Perched Owl Right: Heather Bailey

Tinglewood Festival 2022 Many people are thrilled to come to the auction and walk
away with a true work of art.’
Heather Bailey of Woodlot Artisans told us about this
year’s event. This year’s carver line up was:
‘This year’s Tinglewood Festival was held at Montevallo, Corey Lancaster from Princeton, North Carolina
Alabama’s Orr Park on 10 September, 2022. It is a one-day Dave Marshalek from Shelbyville, Tennessee
event and is a large woodworkers’ event, live music and car Justin Driver from Farmington, Kentucky
show. The tagline is Shavings, Smoke & Sound and of Justin Bailey from Alabaster, Alabama
course carvers fall into the shavings and sound categories. Heather Bailey from Alabaster, Alabama
The chainsaw carving exhibition is meant to show off
where strength and skill meets beauty as art is created ‘My husband and I were thrilled when Steve Gilbert, who now
with something that isn’t so delicate. Our business, Woodlot works as city clerk, and Suzanne Hurst, who owns the Blue Phrog
Artisans, not only creates custom woodcarvings, but we Gallery in Montevallo, first approached us when we opened our
have learned how to book carvers and market their skills to Chainsaw Art Gallery back in 2017. At our grand opening we threw
festivals in order to expose the public more to our art form. a carving competition and invited five carvers out to compete for
This year, the festival had three carvers create three medium the title of winner. We could only offer humble pay, but the carvers
to small sculptures and another two carvers do two larger were very supportive of our event and travelled from far away to
sculptures, with a total of 13 carvings to be auctioned off at help us make it happen. From that experience we learned a lot of
the end of the day. Many of the carvings are timed and each ins and outs for this type of event and continue to learn something
carver commits to finishing their piece in the time frame given new every year as we are blessed to continue showing off our skill
to them. It makes your blood pump when thereare only 10 at the Tinglewood Festival. We are thankful for our community
minutes left. Our talented carvers have spent years honing support and look forward to next year’s success.
their skill to be able to pull off such a feat. Over the years they ‘The cedar that we carved was donated by Tim Tingle. He is the
have learned the perfect cuts and techniques to accomplish namesake of the event and is known for his woodcarvings in the
their sculptures. We have a huge network and watch as these trees at the park. Tim is a big advocate of woodcarving and has
carvers attend competitions and events to see who we want to made many children wonder about the wild faces they see in the
join our team. They must be fast, have a following from the woods at the park. Without his spark for carving, we wouldn’t
public (a nice way of saying their stuff sells), be professional have this wonderful opportunity. He showed a small community
and kind. how a passion for something could leave a lasting impression
Every year these carvers come out and it feels like family on generations to come.
coming to visit, we just love the whole experience, and as far ‘Thanks must go to Adele Nelson as the head of the festival
as I can tell from the big crowds the attendees love it too. committee, she did a great job pulling us all together!’

CORRECTION – we offer our sincere apologies to woodcarver Mike Denney, who was featured in issue
WC190, for an error in his name. He was incorrectly referred to as Mike Denning and we regret this mistake.

What have you been carving? Please email your images to WCEditorial@thegmcgroup.com

72
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 Rosewood double frame
Mark Ivan Fortune takes us through the steps to carve this frame in the Black Forest style

Mark Ivan Fortune followed a traditional

apprenticeship in stone carving to become
a Master of his craft with over 20 years
experience. Since 2008 he has turned his
attentions primarily to woodcarving.
He teaches from his home workshop
at Delgany, Co. Wicklow.

www.instagram.com/markivanfortune

Things you will need

Tools • No.5, ½in fishtail Materials
• Bandsaw • Skew chisel • 7 x 6 x 3/8in
• Padsaw • No.9, ¼in blank in your
• Scrollsaw • No.3, ¼in choice of wood
• Router • No.6, 3/16in fishtail • White craft glue
• Marking gauge • Small veiner • Paper
• V-tool • No.6, 5/8in fishtail • Linseed oil
• No.5, 1/8in fishtail • No.4, 3/8in fishtail • Beeswax polish
• No.6, 1/8in • Paint scraper • Small nail
• No. 6, 3/8in • Stiff brush (for the stand)
• No.5, ¼in fishtail • Small nail

Black Forest-style oak and laurel frames are among my

favourite themes to carve, such a simple but effective design
to have a frame fashioned from branches surrounded by
oak and laurel leaves, sometimes with berries and acorns,
sometimes with just the acorn hats. The possibilities for this
simple theme are as intricate, f lamboyant, elaborate and
endless as the mood that takes you. This uniquely distinctive
style was developed by Swiss carvers and originated from
the town of Brienz.

74
1 6b

1 Cut out the frame on the bandsaw.

Cut out the inner frames with a padsaw.

2 Rout the back of the frame to a depth

of 2mm to receive the photos. If you do
not have access to a router you can achieve
5a the same results by grounding out with
your carving tools in the usual manner.
2 3a & 3b Cut out the pierced sections
on the scrollsaw. From the face side,
gauge a line to a depth of 2mm.

4 Glue the blank to an MDF backing

with a few sheets of paper sandwiched
between. Secure the work to your bench.
With a V-tool, part the inner frame from
the leaves and also the overlapping section
of the main branch that forms the inner
frame. Separate all elements except
acorns and berries.
3a 5b
5a & 5b Ground the convex inner
frame to the gauge line with a No.3 (a),
refine the inner frame stabbing the
lobes with a V-tool (b).

6a & 6b Stab around the berry

groupings with a small No.6, 1/8in gouge
(a). Release the chip (b). (Roughing out the
round elements will assist in setting the
depths at the base of the leaves and, in turn,
the heights of all elements of the frame.)

7 Working with the grain and from the

centre of each berry outwards, dome over
each berry with a No.5, 1/8in fishtail gouge,
taking care not to undercut. As the berries
begin to take shape it may be necessary to
3b cut across the grain – care must be taken
6a when doing so.

75
 8a & 8b Stab the acorns
with a No.6, 3/8in and release
the chip. Be sure to sink the
acorns deep enough to leave
room for the doming.

9 With an inverted No.5, ¼in

fishtail, working with the grain
from the centre of the acorn
outward, dome over the acorns.
12
10 Now, with a No.5, ½in gouge,
begin tapering the leaves down
to their base. The smaller gouges
and a skew will be necessary to
reach into the tight junctions.
8a

11 Now we turn our attention

to the oak leaves. With the No.9,
¼in gouge, using rolling cuts,
make two or more deep troughs
either straight across the leaf or
at a diagonal. Try to visualise
13
where the leaf might naturally
rise and fall.

12 With an inverted No.3, ¼in

gouge, round over the space
between cuts. Try to avoid your
corners digging in, but if this
happens simply repeat the
previous step again to clean up
any digs. This same process is
8b
applied to all the leaves and to
14a
the small twigs, giving them
variation in height, and is
achieved by making two or three
cuts across the leaf. This is especially
accentuated where we have free
space around the leaf taking
advantage of the thickness of the
blank. Try to visualise the finished
leaf – redrawing the central vein
can act as a visual cue.
9
13 Using a small veiner, detail 14b
the oak leaves by giving them
two concentric main veins and
one curving vein per lobe.

14a & 14b We now move to

the laurel leaves to impart some
movement. As with the oak
leaves, repeat the cuts as directed
in Steps 11 and 12.

15 With stropped tools begin 10

by outlining the ruff les of the
laurel leaves with a veining tool.
15
Try to keep as much of the central
material as possible as we want to
create a convex middle to the leaf.

16 Now use the inverted No.5,

¼in gouge (preferably a fishtail)
to shape the ruff les. Use a slicing
cut following the arc of the ruff les
while remembering to keep as
much of the material in the
11 16
middle as possible.

76
 17a & 17b With an
inverted No.6, 3/8in, shape
the central aspect of the leaf.
Use the corners of the fishtail
tool to get right down into the
junctions of where the ruff les
and central convex section
converge. Follow your creative
instincts in varying the forms
20 of the leaves. Cut the central
vein with the veining tool.
17a 18a & 18b Mark out the
cups and with a V-tool gently
cut in the line of the acorn
cups (a). With the No.6, 5/8in
fishtail carve in toward the
V-cut. Now working toward
the tip, clean up the acorn to
a smooth, even form (b). Add
some texture with a punch
or a nail. It may be a good
21 idea to experiment on a scrap
piece first. Punch to random
depths and avoid creating
any uniform patterns.
17b 19 Carefully undercut the
laurel berries with a No.5,
1/8in fishtail gouge to a smooth
spherical form.

20 Round over the stems

with a No.6, 3/8in.
22
21 With an inverted No.4,
3/8in gouge, round over
the main framing branch
working down only as far
as our gauged line.
18a 22 Now texture all branches
with the veining tool. This is
done in a random fashion,
keeping the direction of the
23 long cuts in the direction
of growth.

23 Undercut all the lobes

of the oak leaves using the
appropriate size gouges.
(A V-tool can be useful in
undercutting the sharp
valleys between lobes.)
18b 24 Carefully undercut
the ruff les of the laurel
24 leaves with a No.6, ¾in
fishtail gouge.

25 Carefully and without

levering, separate the
carving from the backing
with a paint scraper by
gradually wedging it
between the carving and
paper. Lightly lubricating
the blade with coconut
oil makes the process
19 25 a little easier.

77
 27a

26

26 Brush in a thin coat of raw linseed oil and allow to soak in

for a few minutes before wiping away the excess with a dry cloth.
Set aside for a couple of days to dry. Apply a thin coat of beeswax
polish with a toothbrush, allow to harden before buffing with
a stiff brush.

27a & 27b A simple hinged stand can be easily fashioned

from the offcuts. Note the little pin hammered in to create the
hinge and the 45° clearance angle on the stand. Sand, oil and
polish before assembling and gluing to the back of the frame.
Try to align the stand as to not be seen from the front.

Fishtail tools
For fine detailed work, the fishtail gouge is unparalleled
for its agility in tight spaces. These tools become narrower
with sharpening and are much more delicate than standard
gouges, which makes them unsuitable for heavy work.

Shoe-shine brush
I have tried many tools for polishing carvings and have
found a pure bristle shoe-shine brush to be the most
effective. Care must be taken when polishing to avoid
striking fine details with the wooden handle. ⬤
27b

78
Next issue
WC192 on sale 9th February 2023

Guest editor Zoë Gertner carves

a mermaid inside a beech bowl

Steve Bisco creates an oak panel

with authentic Viking decoration

John Samworth uses a spiral pattern

based on Fibonacci numbers 34 and 55
for the seed head of a sunflower

Editorial: Karen Scott Printer Precision Colour Printing Current subscribers will automatically receive a
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Woodcarving is an inherently dangerous pursuit. Readers should not attempt the procedures described herein without seeking
training and information on the safe use of tools and machines, and all readers should observe current safety legislation.

Woodcarving magazine will consider articles for publication, which should be sent to the Editor together with a stamped self-addressed return envelope. GMC Publications cannot accept liability for the loss or damage of unsolicited material.
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79
 Patwon Ki Haveli
We visit an architectural gem in India’s Golden City

PHOTOGRAPHS BY SHUTTERSTOCK
The Patwon Ki Haveli in Jaisalmer,
Rajasthan, is a fine example of a
haveli, a traditional Indian manor
house. Jaisalmer is known as the
Golden City because of its yellow
sandstone architecture, of which the
Patwon Ki Haveli is one of the best
examples. It is actually formed of five
smaller havelis, which were built in
the early 19th century by a rich trader
for his five sons. The largest haveli is
also the oldest and most ostentatious,
and was built in 1805; the other four
were completed over the following 50
years. It is also known as the Mansion
of Brocade Merchants as it is believed
that the original owners traded in
gold and silver threads. The yellow
sandstone exterior features intricate,
delicately carved patterns, 60
elaborate balconies and a gateway in
contrasting brown stone. The arched
roof is decorated with carved brackets
in the form of peacocks. The lattice-
style carvings are designed to make
the most of the effect of sunlight
hitting the golden sandstone. The
interior is also lavishly adorned with
mirrors, paintings and carved arches.
Part of the haveli is now a museum,
while other areas are used by the
Archaeological Survey of India.

80
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